1. family and parenting
2. children

ARKLINK INITIATIVE
IN FATIMA MANSIONS
THE ARK CULTURAL CENTRE FOR CHILDREN, DUBLIN, IRELAND
SUMMARY REPORT_2007
Table of Contents
EXECUTIVE SUMMARY
3
INTRODUCTION
8
EVALUATION METHODOLOGY
9
RATIONALE FOR THE CHOSEN ENVIRONMENT
10
FATIMA NOW
11
THE ARK
12
ARKLINK IN FATIMA 1999—2003
13
ARKLINK IN FATIMA 2004—2005
17
QUANTITATIVE ASSESSMENT
24
QUALITATIVE APPRAISAL
26
CONCLUSION
29
THANKS
31
APPENDIX 1_A MODEL OF PRACTICE
32
APPENDIX 2_THE KEY PLAYERS
38
© Alan Tweedie & The Ark, A Cultural Centre for Children, 2006
3
Executive Summary
As citizens, the children of Fatima will have the
opportunity to engage with child-centred, high
quality, cultural experiences, which nurture their
creativity, enrich their lives, and help shape the
future of their community.
ArkLink is an initiative of The Ark, A Cultural
Centre for Children in the Fatima Mansions
area of the city of Dublin, Ireland, a multiply
disadvantaged local authority housing estate,
built in the late ‘40s, renovated in the late ‘80s
and demolished and rebuilt from 2005 to 2007.
This evaluation reflects on its initial five-year pilot
stage to December 2005, funded by Atlantic
Philanthropies, the major funder, and the Irish
Youth Foundation. The above mission statement
emerged in 2003. From the outset this was The
Ark’s aim when setting up the programme. The
Ark’s own mission statement is:
The Ark, Europe’s first custom-built Children’s
Cultural Centre, programmes, promotes and
hosts high quality cultural work, which is by
children, for children and about children. The
Ark is a charitable organisation, founded on the
principle that all children, as citizens, have the
same cultural entitlements as adults. We work
with a diverse range of Irish and international
artists to develop original, inspirational and playful
programmes for children, aged 3—14 so that
they can extend their imaginations and horizons.
Following the introduction, this report sets out the
methodology for evaluation. Difficulties in bringing
forward quantitative evidence are outlined,
and some is provided. A number of indicators
emerged that differentiated the ArkLink child from
the non-ArkLink child, with the indicators showing
positive outcomes from the ArkLink experience.
This report explores the rationale for choosing
Fatima Mansions and the situation within The Ark,
an organisation going through transformation at
its Temple Bar base from shortly after it entered
the Fatima experiment. It outlines an initial
problematic start and goes on to review how
perseverance brought success.
The regeneration board for Fatima Mansions’
2005­—7 reconstruction was able to assert in
its Social Regeneration Report (late 2005) that
most children and young people in the area
now participate regularly in the arts and there
are many that are literate and accomplished in
multiple art forms. In asserting in the report that
one of the most exciting features of life in the
flats over the past decade has been how the
arts have naturally evolved and become a central
means by which the community has chosen to
explore, describe and celebrate its particular
identity, culture and experience of change and
regeneration, the arts is identified as relevant not
only to the ArkLink children’s lives but to the lives
of all in the community.
Crucial to that state of affairs was the role of
Fatima Groups United (FGU), the coordination
network in the community. From the start, FGU
welcomed the Ark proposal and agreed that one
of their staff would provide a level of local support.
In its work, and fairly uniquely, FGU was able
to seriously and constructively engage with
receptive authorities over the regeneration
scheme and at the same time enable extensive
arts activity to which, as an organisation, FGU
were fully committed. Indeed in respect of
ArkLink, FGU was important to its progress
against a background of transformational change
within The Ark.
The report explores how one downside of the
project was the inability, for various reasons, to
maintain a community-based support group.
None had existed initially and the efforts to
create a planning, implementation and evaluation
group, while initially successful, floundered
against a background of other community-based
collaborative forums.
In 2002, through a participative process
involving key stakeholders, revised objectives
were agreed:
_ Obtaining parents’ understanding of and
co-option into the process
_ Ensuring intensive engagement
_ Providing resources, including a base and creating a safe space to try things/aim higher (in small groups)
_ Linkage to FGU’s annual plan/FGU structure for culture and arts and creating a structure for management of the project
_ Contacting those children considered particularly excluded
By the end of 2005 there had been two very
good years of coherent and progressively
challenging development.
Indeed, ArkLink now deserves to be recognised
as a model of good practice with significant
progress made by children, artists, community
support staff, parents, community organisations
and Ark core staff.
It is argued by the Regeneration Board that
participative and collaborative arts practices are
integral to most all the progressive educational
and community development work in the area.
This report indicates that ArkLink has clearly been
one of the most important elements in enabling
that statement to be made. The Ark’s intervention
was timely indeed.
_ Protecting the ethos and values of The Ark
_ Finding a way to involve children in the decision-making process
_ Developing a model of best possible practice and evaluation
4
Executive Summary
Revised achievable goals were set for the
short, medium and longer term.
Short-term goals To be achieved by Dec 2002
_ Establish the structure to implement
_ Develop a critical mass of adults
(e.g. parents, school staff, artists) who have interest in children’s lives and who can influence the mainstream to take account of the outcomes (through change in their own practice/capabilities)
the project
_ Agree a plan of action informed by the ethos and values of The Ark and the FGU social agenda
_ Provide resources and a base
_ Explore involving parents, children and schools in participation, decision-making and communication
_ Achieve a successful artistic programme staffed by skilled artists
_ Monitor, evaluate and feedback
Medium-term goals To be achieved by Dec 2004
_ External communication
_ Incremental development
Although the short-term goals were delayed in
their achievement, the report reveals success
in these goals by the end of the medium term
period and all of the longer-term goals having the
potential for achievement.
This is shown to be a successful development
that deserves to see a fruitful legacy in the
community and within The Ark itself.
In The Ark, the model of activity had been
projects that involved children for up to a
maximum of eight weeks. In ArkLink, a whole
new level of commitment was recognised. The
actual long-term relationships with individual
children led to artists in the community feeling
committed to the children, committed to the
community and committed to the artistic
experience. That commitment was observed by
the evaluator and commented on by children,
parents, teachers and community workers,
indeed everyone consulted.
Long-term goals To be achieved by Dec 2006
_ Achieve the mission
_ Achieve a model of best possible practice
_ Achieve a sustainable continuing project linked to both FGU and Ark strategies
It took until late 2002 to achieve a situation where
the children came regularly most weeks and
accepted that, although the project was fun, it
needed to be taken seriously.
The adapted flat, 14e, that became available as
the year 2003 ended transformed the project.
The highlight of that year was undoubtedly a
public viewing that was important in showing the
quality in the children’s achievements. It was also
important in communicating with the community
and positioning the children in a positive light
within their community. This was the launch of
their new space and was no simple event, but
a complex opportunity to promote children and
their place in regeneration. The children were in
charge of their own work and of the collective
space of the opening.
By 2003 noted changes listed below were
seen in participating children and these were
further explored during 2004 and 2005 to
provide widely corroborated evidence of:
By the end of 2003, there was a feeling of a new
beginning in 14e Fatima Mansions, the home of
the project for the next two years and more – until
it would be time to release it to the hands of the
demolition contractor.
Partly prompted by its experience in Fatima,
the acting Ark director at that time argued that
working more long-term with children was part of
the debate within The Ark in considering its future
work. Markers were being set down about The
Ark’s aims in the process. What they sought in
their work was:
_ High quality production values
_ A structured, well thought-out approach
_ Increasing self-esteem
_ Sense that the children knew that they were held in higher esteem at school for their ArkLink activity
_ Greater confidence
_ Skill development, especially artistic skill, and technical progress, initially slower than with groups of similar age, but then rapidly progressing beyond competencies among the average child of similar age
_ Children artistically more competent
_ Children not afraid of art or of expressing themselves
_ Children could express more complex ideas
_ Greater ability to start something and see
it through
_ Greater ability to help others and be supportive
_ An intervention that was ‘customised/
_ From an initial negative attitude to trying, calibrated’ to the local people
children learned that trying is worthwhile and transferred this learning elsewhere, including to the school environment
5
Executive Summary
_ Problem-solving skills improved
_ Collaboration between the children increased and was noted in the school environment and in the wider community
_ Skills such as ‘cutting’ and ‘manipulating _ Motivation is a changeable factor and needs to be allowed for in planning the activity
_ Developmental arts work for children at their pace is a resource ‘hungry’ activity
materials’ generously handed on by ArkLink children to others in school
_ The earlier age at which children can start _ Children given time to look and to respond
_ Confidence in arts activity can lead to to ideas
confidence in other fields, at school and in community leadership, and in dealing
with adversity
_ Language development has become
their arts activity, the better the outcome
more elaborate
_ Greater feeling that Fatima was a ‘cool’ place to be
_ Pride to take artists to meet their parents, have photographs taken with them
_ Children expressing themselves better than their peers, especially to adults, and becoming more imaginative
_ Greater openness by children in relationship to school teachers
All of this evidence was corroborated by more
than one source, often by multiple sources and
reinforced by regular evaluator observation.
The process was seen to be about ‘nurture, kindness and art was in there’. ArkLink was
‘vital to the stability and development’ of
these children.
By the end of 2004 the project was already viewed as a very considerable success and
the agreed key factors in this success
story were:
_ Artists who knew how to work in a context of social change and social engagement, and who were open to learning more about these skills on-the-job
_ Capacity for the artists to work without many of the resource struggles that are the norm. (Artists in the community with space, resources and freedom to get on with the task are not the norm)
key players in Fatima Groups United (FGU) who accepted art as a tool and took it for granted in relationship to everyday life, not some mysterious great leap forward
_ Practical integration of the project with other services dedicated to 4 to 12 year olds who liaised with each other and supported children’s attendance to all (ArkLink, Fatima Youth Initiative, Homework Club, Fatima Youth Club)
_ Extensive exposure of the children to art and creative thought, to a remarkable extent and variety for children of this age
_ A project manager in position who was comfortable with the child-oriented philosophy and had the time to support the artists, the children, their parents and community connections (artists don’t usually have that help)
_ Local parents as support workers, prepared _ Significant social development, including _ Strengthening support emanating from The parents making friends in the estate
Ark that was able to extend opportunities and add resources
_ Some parents recognised their children’s _ Strong community support, particularly from cross section of the community
future might be in the arts as artists
children’s sociability and responsibility
comfortable with its outreach work
_ A child-friendly approach reaching a genuine _ Parents recognised improvement in their _ The Ark becoming more flexible and to have a go and who valued the process for the children and for themselves; and who had become able to run workshops on their own (indeed they were also able to show leadership to school teachers in teacher training sessions)
_ Development of children themselves so that in projects, according to teaching staff, where they interacted with other children from other areas in a schools context they ‘nearly wiped the floors’ in how they used the experience and they ‘frequently led others in group sessions’
_ Development of links to the schools,
where the main developmental out-of-family experiences for the children were
taking place
_ Achievement of a common sense of ownership
_ of the initiative
6
Executive Summary
Towards the end of 2005, one teacher was not
at all surprised that it had taken ArkLink or the
community some time to reach where they were
now. She saw that the community needed to
learn how to trust people who were coming into
their community. She felt that everything was
much more solid by then. What she identified as
the key ArkLink methodology that was proving
successful was that the child was treated with
dignity and respect and that each was treated as
an individual. In addition, ArkLink staff were seen
as passionate and caring, especially the project
manager. ‘When children know you’re passionate
about them they will do anything’. The evidence
presented suggests that the conditions that
contributed to the success were:
_ Clearer objectives within the promoting organisation, The Ark
_ Agreed objectives that were understood locally within community networks
_ Good funding over a prolonged experimental By the end of 2005, the artists felt that they were
only halfway through the process. Working in
a project that was clearly a medium-term pilot
project (3 years initially) the artists felt this should
always be recognised as something for the longterm. They argued for, and there is significant
strength to the argument, children’s continued
exposure to numerous arts programmes in
which the visual arts play a major part. As a new
future unfolds there are some concerns among
stakeholders that there could be the loss of the
complex and highly educational processes that
emerged and functioned well here. There was
something of the whole world coming into the
children’s lives, the artists argued. In an hour
the children would often discuss many topics
that they would not discuss in a day elsewhere.
The artists had watched the children develop a
responsibility for their selves, for each other and
for their community. The children’s work had
become a ‘keystone’ in the community structure.
Confidence ‘breeds creativity and creates the
healthy mind which controls the body’, argued
the artists.
period
_ Mostly consistent and supportive project management
_ Experienced and talented core artists with provision for similar artists for shorter-term or shorter time-input
_ A friendly and accessible base, fit for purpose
_ Quality materials and resources, good community networking and schools support for the work
This was a well-funded intervention. The artists
were aware that future financial realities might
lead to reduced funding for their work in the
community. Their concern was not felt to be for
themselves but for their work and the children.
The artists posited that with more funding they
could do even more. They felt their experience
was evolving their own artistic work as they
learned and adapted, and that new information
and experience was now available for the
artistic field.
By the end of 2005, the primary school children
attending ArkLink were seen by the artists,
and corroborated by the schools, to be in the
artists’ words, achieving ‘amazing’ and complex
results using varied techniques. They felt that
‘some secondary school pupils in their first year
could not even begin to conceptualise’ such
techniques. ArkLink children could now ‘see a
finished product in their minds’. In even quite
short times, children could make ‘incredible
progress’, asserted the artists. Those children
that had been attending longest were now seen
to be confident in understanding context, secure
in their competence and didn’t fear spending
time thinking. As there was little pressure of time
in the process the children knew they had time
to ponder over days or even weeks. They were
keen to explore other art forms. Their journey was
really only starting.
As with the children, the artists felt that they their
learning and growth was enormous. The artists
and children were able to work in an experiment
over an extraordinary historical period, a time that
the artists felt they would find difficulty recreating.
A record of the journey, that some children had
been on for over five years, was reflected in the
annual calendar produced by the ArkLink project
for the community.
By 2005’s end, ArkLink had been able to suggest
good practice concepts in inter-agency work,
partnership, parental involvement, schoolcommunity collaboration and working with
children, at times by overtly delivering the good
practice and at times by exposing the
project’s shortcomings.
This report asserts that this community-based
project with its values, its methodology and
increasing commitment to training, needs more
time on the ground in Fatima. This supports the
view of most stakeholders. The lessons being
learned here have wider relevance in Ireland and
further afield.
This report also asserts that ArkLink has
proved that well-resourced arts activity makes
a difference to children’s lives, even in a most
difficult environment. It proves the benefit to
society of such investment. It proves that the
arts sector has much to learn from this kind
of methodology and its outcomes, and some
artists/arts institutions may need to rethink their
own convictions/ practice. It shows to group
workers that in this practice there is much
technique that can be utilised constructively in a
multitude of situations, particularly in health and
education. It shows to each of us as individuals
that we have in us a great deal in creativity that
perhaps through earlier neglect has not been
allowed to flower.
The experiment also has something to say in
the wider debate on educational achievement
in children and the question of whether the
arts can boost academic performance. This
report did not set out to prove this but it does
7
Executive Summary
raise questions in this area of research. If the
outcomes of this project include such significant
levels of skill development, increased creativity,
language development, confidence and
broadening of thought and learning processes,
and if schoolteachers are saying that they see
progress in such subjects as mathematics and
Irish language, then it is perhaps time to look
more deeply at these outcomes. Perhaps it is
not the case that the arts per se produce better
academic performance (although this could yet
be seen to be the case), but perhaps this raises
the possibility that this type of arts approach
does have something to contribute to improved
academic performance.
This report raises questions about the future
continuation, leaving to those on the ground the
choice that is theirs to make, and to funders the
choice of what they will or will not support. The
report argues that continuation in a form that
protects the underlying principles of success is
the key objective.
It is suggested here that risk-taking benefactors
such as Atlantic Philanthropies and the Irish
Youth Foundation, who bravely supported the
project through more difficult times, can now
integrate the learning into their own strategies.
In supporting this project they got to the core of
some educational, health, social and community
issues that they may not have touched by more
conventional means.
It is hard to imagine that the work developed
by children in 2010 will be achieving the
outcomes currently being achieved if some
means of retaining priority focus on the arts is
not maintained. That was what was missing from
Fatima children’s lives and that is what has been
clearly highly successful once introduced to
their lives.
There is a need for the process and focus that
has been particularly successful in 14e Fatima
Mansions to be the core of any future initiative.
That, it is argued, is what is in the child’s interest
and what appears to also be in the interests of
The Ark as it learns from its experience here and
plans its future, including its work with children in
disadvantaged circumstances.
Finally, it is recognised that this is a lengthy
document and is not seen as the only evaluation
document that should emerge. It is lengthy as it is
aimed to provide as much firm evidence as could
be collated and to properly reflect the outcomes
of so many people’s endeavours. The model is
significant and so should be promulgated widely
in order to influence policy and inform learning.
Local arts groups, the wider artistic community
in Ireland, government and local government
policy-makers, other agencies and professionals
still need to benefit from The Ark’s experience
with ArkLink.
7
8
Introduction
The ArkLink pilot action research initiative arose in
response to feedback on The Ark’s performance
as a building-based children’s cultural centre
in central Dublin. The Ark wanted to reach out
during out-of-school time to some of the children
it was occasionally meeting during school hours,
those from more disadvantaged geographical
areas. Initially a three-year initiative set in one of
the nationally recognised, multiply disadvantaged
communities in Dublin; it became a six-year
initiative. At the beginning of 2006 the project
appeared to be moving towards a new locally
managed, sustainable future.
Against a degree of debate in the wider society
around the role of arts in society, the aim was
to help develop a set of young people, rich in
imagination, that would feel that their creative
skills had been developed and would last. Firm
evidence was sought that would prove that
quality arts experiences when children are young
can make a real difference both for the individual
and the community. Evaluation of the project
was to contribute the firm evidence of what is
being achieved and why. And it was to provide
evidence to inform where the initiative
should lead.
The project was set against a background of
both multiple disadvantages within the chosen
community, Fatima Mansions, and a longterm crisis in the physical structure of that
community that was leading to a major Dublin
City Council regeneration initiative in partnership
with the community. That partner was the local
networking group Fatima Groups United (FGU).
The key interest groups benefiting from this
process were to be
_ The children of Fatima Mansions
_ Children more widely who could benefit from the findings
_ The Ark board
_ The Ark staff including their artists active in
the community
_ Fatima Groups United
_ Parents
_ Local teachers
_ Fatima Regeneration Board’s sub-group on culture & recreation, a body formed to contribute to the regeneration process
_ Other local arts groups
_ The wider artistic community in Ireland
_ Other agencies and professionals that might
ArkLink was not the only arts project that
was active in the area over the period. It was,
however, unique in the area in that it was
planned as a serious long-term intervention
among primary school children, mainly in an
out-of-school context. Concurrent with the
ArkLink project but unconnected was a wider
‘Creativity in the Classroom’ scheme placing
artists in schools.
Evaluating projects such as ArkLink presents
challenges. It is not possible to establish a control
group that does not receive the opportunities of
this project to compare that group over time with
those that do get involved. However, to some
extent, particularly through collaboration with
the schools, it was thought possible to identify
evidence of differences arising out of participation
and non-participation. Parents also would have
an important role in identifying what
was changing.
The regeneration project was happening
concurrently with The Ark initiative. This was to
see the eventual demolition and regeneration
of the physical fabric of the estate. Specific
challenges arose from this factor in determining
the causes of change in the children.
benefit from any learning from the project
_ Government and local government
policy makers
As this six-year pilot programme ends, it is
possible to continue following the paths of some
of these children, their families and community
over a longer period, for example through the
children’s teenage years as they approach
adulthood. For some of the participants, teenage
has already arrived.
9
Evaluation Methodology
Evaluation commenced after The Ark had begun
this exploration of the contribution of arts activity
in child, parent and community development in
Fatima Mansions. The evaluator commenced
work in 2001.
The chosen evaluator has a background in
arts management, community development,
education, research and politics. He had
evaluated a number of other projects in the arts
in Ireland and had also been involved in cultural
research in the area around and including Fatima
Mansions. Although from outside Ireland, the
evaluator had developed local knowledge and
also had earlier connection with some Ark and
FGU personnel.
The evaluator has a past and continuing history
with some of the personnel involved in Fatima
Mansions and the surrounding area. This was a
transparent factor and every effort was taken to
ensure that as much objectivity as possible was
in practice and that any prior relationships did not
impinge adversely on assessment of outcomes.
Indeed this is only part of the wider difficulty that
each evaluator brings to ‘objective research’.
In the ‘Educational Researcher’ (May 2002) it is
argued that whether overtly, or as a result of the
presuppositions that are inevitably embedded
within ways of thinking that inform practice
and so often remain beyond question, the
decisions that are made about theory, methods,
methodology, ethics and politics are now open
to routine scrutiny. Particular ideas of neutrality,
such as the maintenance of objectivity through
positioning the researcher as nothing but a
passive instrument of data collection, are now
exposed as falsehoods that seek to mask the
realities of the research process. The knower (as
researcher) is now implicated in the construction
of the known (the dynamics and content of
society and social relations).
This evaluation lasted for five years, a fairly
uncommon evaluation experience in the arts and
it is clear that the accumulation of the research
and the researcher learning were factors in the
progress of the project.
As the project progressed from 2002, annual
written analysis of the project was presented to
be used by The Ark and other stakeholders to
aid reflection and development planning. The
evaluator was provided with written material and
other records, which from time to time included
tape recording, video and other artistic product.
All of the participants in the project were of
primary school age. This presented limitations to
the evaluation process and assessment of impact
relied heavily on the adults involved.
To implement the evaluation process, the
evaluator was involved in:
_ observation visits to activities
_ meetings with participants
_ meetings with staff
_ attendance at meetings of the local stakeholders
_ discussion with and involvement of the
local schools
_ discussion with representatives of
outside agencies
_ examination of records
_ design, implementation and evaluation of questionnaires
A review of other research both in Ireland and
abroad revealed that there was little that was
unique and new in this action funded by Atlantic
Philanthropies and the Irish Youth Foundation.
Indeed work with similar age groups was
simultaneously going on in the nearby Irish
Museum of Modern Art’s ‘Breaking the Cycle
Project’ and in the National Gallery of Ireland’s
‘Learning from Art’. What was different with
ArkLink was that the funders ensured that lack of
adequate funding over a long period would not
be a reason for project failure or shortcomings.
This is unusual in the arts sector, and in the field
of children’s out-of-school arts, pretty unique. To
have the proposed freedom and security that this
project wished to provide was something fairly
unique for the children themselves.
The evaluator’s visits, while providing a basis for
ongoing evaluation, were as much to do with
helping with forward planning and adjustment of
plans, as with documenting what was happening.
Thus, through contact with the evaluator during
the process, the arts workers and other key
personnel were able to constructively consider
their work to date, their options for the future,
and any changes that they might wish to make to
their strategy. Added to this there was, from the
evaluator, an acceptable degree of facilitation of
planning processes during the early stages of the
project and an element of support or mentoring
for the project manager as the project developed.
Neither of these was allowed to interfere with the
objectivity brought to the project by the evaluator.
The aim of this document is to reflect
analytical issues that were agreed with
stakeholders including:
_ clarity of project objectives, both creative and social;
_ understanding of and support for the objectives among participants and partner organisations;
_ extent to which the objectives have been met, or are being met;
_ quality of partnerships developed;
_ commitment gained from public and community sources;
_ integration with other social programmes;
_ realism, flexibility and clarity of planning;
_ involvement of participants in planning process and setting objectives;
_ openness of the projects aims and principles;
_ quality of artistic process and outcome;
_ effectiveness of management;
_ response from other professionals;
_ realism and precision of objective(s);
_ indicators and benchmarks for success;
_ effectiveness compared to other forms of intervention;
_ quality within the project of its evaluation process.
10
Rationale for the Chosen Environment
The Ark’s involvement in Fatima commenced
in 1999 following a planning process within
the organisation. This had reviewed the first
years of The Ark, A Cultural Centre for Children.
There was a feeling that The Ark had already
experienced a very successful start as a new
Dublin city-centre facility. It was confidently up
and running and already working near to its
building-based capacity. It had gained recognition
in Ireland and further afield as a progressive
centre stimulating children’s creativity. Indeed,
from abroad, visitors were coming to examine the
successes of the facility and its services.
The Ark had been part of an exciting new
development that brought new life to an inner city
area, Temple Bar, along the south bank of the
river Liffey. Cultural approaches were numerous
in the new Temple Bar with other developments
such as the Irish Film Centre, Meeting House
Square, galleries and a plethora of restaurants
and bars. The Ark provided a children’s oasis
amongst what was otherwise a fairly ‘young
adult’ environment.
This opportune location allowed a concept of
safe and well-resourced premises for children.
These premises had the capacity to open up
the back wall creating a theatrical proscenium
arch and interaction with Meeting House Square
where other providers were showing open-air
films and running street markets. Like many
locations there were downsides to the location,
but in many ways it was an ideal environment,
and continues to be, providing for a wide range
of children. Most of these children travel to the
venue, rather than coming from the immediate
environs. It is a city based resource rather than a
local community resource.
As The Ark reviewed its progress, many strands
of thought about the future were forming. Not
least was recognition of the building’s vulnerability
in reaching out to more disadvantaged
communities. Staff felt that The Ark was not
reaching out sufficiently to children outside of
school, the factor that brought most to The
Ark. The Ark was not connecting enough with
parents. It was apparent the children from some
backgrounds didn’t often come through the doors.
There were signals and signs that suggested
that if The Ark was to seriously work with more
disadvantaged communities it had to get out
of its geographically limiting building and meet
with young people in their own communities.
Interestingly, some of these signals were given
to Ark employees who were visiting Mountjoy
Jail and meeting with inmates, fathers of young
Dublin children. They looked on The Ark as ‘not
for our kids’, only for ‘posh’ kids. These prisoners
were keen to give The Ark staff a piece of advice
that if they really wanted to make progress
outside of their own walls they needed to get
into the communities where their work was
really needed.
A number of these prisoners came from Fatima
Mansions, just outside the city centre. They
suggested The Ark could do worse than start
there. The Ark was also picking up anecdotal
evidence of levels of poverty, the gaps between
‘haves’ and ‘have nots’. A storytelling session
within The Ark exposed information that some
children were not having good experiences with
even simple activities like going to bed.
Traveller kids arrived one November wearing no
socks. The poverty of some children was quite
striking. It became impossible for staff at The Ark
not to seek a response in their work.
The Ark already knew the Rialto area in which
Fatima Mansions is located. The Ark (founder)
Director had previously worked on a project in
Fatima. The Ark’s initiative would by no means be
the first arts initiative in this area. Indeed the area
had experienced many diverse initiatives as the
local community, authorities and voluntary sector
tried to address the multi-faceted challenges of a
disadvantaged ‘urban village’, as it was described in the Rialto Area Action Plan 1995 to 2000.
Rialto lies beside the Grand Canal, a historical
water route into the city. Fatima Mansions is one
of two areas within this 5,000 population ‘urban
village’. Built in 1947, there were considerable
aims of providing quality homes for working
people. In mainly Catholic Dublin, the name
‘Fatima Mansions’ must have reflected
high aspiration.
However high the aspiration, the reality became
much different. The decline is deemed to have
started in the 1970s. High unemployment,
low income and severe challenges from drug
and alcohol misuse became a reflection of the
reality. The crime rate was five times the national
average. By 1991, nearly 40% of family units
were led by a single parent. It was a higher
proportion by the start of the ArkLink initiative.
What was absent was any sense of life chances:
the homes had been exciting architecture and
still were. However, they had become very run
down. As often in such situations, individual local
residents created and maintained a living for their
families as best they could.
Among the community there is real pride,
reflected in the way many people took pride in
their homes and continued to fight against years
of neglect.
A Rialto planning process in 1994 aimed to
attract new resources and improve conditions.
The plan was to involve the whole community.
All ages were to benefit. Both art and children’s
activities were part of the plan. In 1994 no
real thought was given to the idea that Fatima
Mansions would be demolished. The aim was
to improve the physical, environmental and
landscape qualities of this park-side flat complex.
By 1999 the situation had changed. The
Government was funding partnership boards
across the country to lead regeneration.
Rialto became part of the area of the Canal
Communities Partnership Board [CCPB].
CCPB carried out research, introduced
innovative new services and encouraged
Rationale for the Chosen Enironment
community participation. Its initiatives included
looking at the arts as a motor for regeneration.
Out of that work a new local arts generator had
been established : Common Ground. In the early
days, Common Ground was able to help with
the concepts that The Ark had begun to explore
within its own internal planning.
Another significant change was the fresh air
brought by a new Dublin City Manager who
entered into a process with the CCPB of
exploring areas of common interest. He, CCPB
and the local community were interested in
finding out what had gone wrong in Fatima. How
could it be that a community that was given a
£5 million refurbishment 12 years before had
now deteriorated so much? Despair and danger
were quite prevalent feelings of tenants who had
suffered much in a fairly desolate environment.
There was early agreement that demolition had
to be seen as a real option. It was agreed that
Fatima Mansions was to go and new housing
would be built. From its then reality as a council
housing estate, Fatima would become a mixedtenure community.
The Ark had recognised that it had to move
out into the community. Fatima Mansions
was only 20 minutes away by bus. A new arts
organisation, Common Ground, was in place that
could support a child-oriented approach. The
Council was planning extensive regeneration.
The local community network structure, Fatima
Groups United, could be supportive. If The Ark
were to move out, Fatima would be a good bet.
The decision was taken to establish the children’s
arts initiative in Fatima.
Prior to finalising Fatima as the location, the
director and three colleagues met with Fatima
Groups United (FGU), the networking
association of local groups. In this meeting, the
FGU representatives happily agreed to see this
project come into their community, recognising
the value of the resources and activities this
would bring. They also agreed to make one of
their own personnel the contact with The Ark.
With hindsight, what was recognised as not
having been done was the setting out of clear
responsibilities for FGU and The Ark. By default
this meant that the formal responsibility largely
rested with the originator of the project, The Ark.
11
Fatima Now
In 2005, the Fatima Regeneration Board
published its social regeneration plan Great
Expectations. Notable in this plan was its use
of artistic images, some coming from ArkLink,
all from a healthy artistic environment in the
community. It is a message of great hope, and in
setting the overall scene for the current stage of
the ArkLink initiative, it is significant.
The report was issued soon after the first tenants
of the old Fatima had moved into their new
homes (October 2005). The plan gave statistical
information revealing that, whereas in 2001
there had been 685 residents in 241 flats, by
January 2005 there were 388 residents in 147
flats. The 2001 figures followed a rapid decline in
population from 1996 when there had been 820
living on the estate. The decline over the period
of the project was reflected in the child population
with the 2001 figure of 98 in the 6 to 10 years
(original ArkLink target) to 60 in 2005. The 2005
figure for 0 to 10 years was 110.
A decline in single parent families is also reflected
in the report, reducing from 44% to 37% (106
families down to 53 families).
2001 research in Fatima Mansions by Claire
Collins and Suzanne Lyons exposed a
persistently high level of early school leaving
and low participation in higher education. Only
14% had left with a Leaving Certificate or higher
qualification, compared to 32% in Dublin and
51% nationally.
On the health front, overcrowded housing,
poor heating and poor external environment all
contributed to health statistics showing poorer
health than national figures. 45% were active
smokers compared to 31% nationally. Asthma
and chest complaints were the biggest
health problem.
By 2005 the Regeneration Board was able to
assert in its report that most children and young
people in the area now participate regularly in
the arts and there are many that are literate and
accomplished in multiple art forms. The report
asserts that one of the most exciting features of
life in the flats over the past decade has been
how the arts have naturally evolved and become
a central means by which the community has
chosen to explore, describe and celebrate
its particular identity, culture and experience
of change and regeneration. So the arts are
identified as relevant not only to the ArkLink
children’s lives but to the lives of all in
the community.
Crucial to that state of affairs has been the role
of Fatima Groups United (FGU), the coordination
network in the community. Fairly uniquely, FGU
has been able to seriously and constructively
engage with receptive authorities over the
regeneration scheme and at the same time
enable extensive arts activity, to which FGU as
an organisation have been fully committed.
12
The Ark
When The Ark ‘gave birth’ to ArkLink, it did
so with the confidence that it knew what it
was doing in its core work. It was respected
internationally and locally for its work, had clear
direction and a staff that worked well together
and enjoyed doing what they were doing. The
staff wanted to broaden out what they were
doing to reach new communities, especially the
disadvantaged. This was in line with The Ark
mission which included developing programmes
in partnership with other cultural institutions in
Ireland and overseas.
It had been a rapid journey to achieve the
position of a stable and exciting arts base for
children and then create four exciting new
outreach initiatives. In any circumstances the
Board and staff would have been challenged
to see this next phase through. Staff leadership
within The Ark, introducing the new initiative,
moved on at an early stage in ArkLink life. This
led to a process of transition within The Ark that
impacted on the ArkLink initiative in Fatima. The
repercussions of this organisational change were
considerable.
The Board supported the staff but the Board’s
knowledge of the artistic and child development
issues involved was perhaps limited. That was
in 2000. That was the picture that attracted the
sponsors of the ArkLink project, one of four
new innovations for The Ark being funded on an
experimental basis. The funders for ArkLink were
Atlantic Philanthropies (although their involvement
was not generally known until well into the
project) and the Irish Youth Foundation, funded
through The Ark Trust.
The Ark had created a post of Project Manager
for ArkLink and one of their programmers was
transferred to this work, initially part-time but
eventually full-time. She had an especially difficult
task by virtue of some design faults in the
initial approach.
These might be identified as:
_ Absence of community development and child development expertise within The Ark team
_ Absence of a suitable practical arts activity base within the chosen community
_ Lack of a clear person specification for an artist-in-the-community
The ArkLink project in Fatima had an inauspicious
start with upheaval in the home base, lack of
clarity about aims and methods, lack of a suitable
venue and thus severe programming difficulties,
and no clear artist specification to ensure artistic
appointments with best fitness for the initiative.
It is to the credit of The Ark Board that they have
been prepared to support the project on the
ground during a period of organisational change.
From 2004, work on a new Ark Strategic Plan
(2005 to 2010) was progressing.
13
ArkLink in Fatima 1999­—2003
From initial difficulties, ArkLink very successfully
concluded 2005 and entered 2006. There
have now been three years of coherent and
progressively challenging development, with the
last two showing the most significant outcomes.
ArkLink now deserves to be recognised as a
model of good practice with significant progress
made by children, artists, community support
staff, parents, community organisations and Ark
core staff.
All are showing that despite the early difficulties
there has been a very positive outcome. It is
argued by the Fatima Regeneration Board that
‘participative and collaborative arts practices are
integral to most all the progressive educational
and community development work in the
area’. ArkLink has clearly been one of the most
important elements in enabling that statement to
be made.
While significant good work developed in the
early years, it is not useful to dwell as much on
those first years as on the later years, the first
years being undermined by:
It is, however, the nature of innovation that these factors arise. The project opened with a
less than confident team in an unsuitable base in
the local Parish Centre, a room in the premises of
the local church. This room had to be shared with
other activity. It was in the wrong place, across a
main road, outside the target community, and it
provided an uninviting environment for creativity.
Things later improved with more understanding of
the task and the recruitment of new artists both
with the necessary experience and the
right attitude.
The decision-making in respect of the above
agenda was carried out through the first few
months of 2002 and implementation continued
through the year. This was a very positive area
of progress. Key factors identified through this
process were:
_ The need for an operational base to be up and running so that The Ark could become part of the furniture of Fatima Mansions
_ The need for confidence in The Ark in what it Through a facilitated development process
involving key stakeholders to address the
shortcomings and opportunities, the following
emerged in 2002 as the agreed key issues for
future development:
_ That the change that was going on in limitations in what comes from the kids’ experience of the arts as currently taught
in schools
_ The need to put more value on the processes
_ The need to have the time for a worthwhile venture with no givens and no demands
_ That people were getting to know The
Ark people
_ That already there was positive feedback _ Creating and broadening a planning and _ That The Ark was making a commitment to _ That parents didn’t really know what The
a generation of children
Ark was
monitoring group to consolidate and strengthen the capacity for progress, and for the transfer of learning into the community and the wider society
_ That The Ark was seeking a deeply respectful relationship with the kids
_ That this deeply respectful relationship was _ Lack of understanding of the objectives respected above all others, and therefore adults should change and organisations should change
among participants and partner organisations
_ Setting and implementing the annual _ That the project aimed to be child led
_ Lack of realism, flexibility and clarity of planning
development plan for the next year within the context of a longer-term plan
_ That the work aimed to get away from work planning process and objective setting
_ That the starting point was that there were children’s lives was huge and The Ark was trying to support the children to have a sense of ownership of that change
the professional development of the key Ark worker supervising the development of the project
_ Lack of involvement of participants in the attitude of adults to children
does
_ Introducing mentoring provision to support _ A need for clarity of the project objectives
_ The need to monitor any change in the that was reactive
_ Recognition that all involved would change as a result of the process
from the children
14
ArkLink in Fatima 1999­—2003
There was agreement at that time on what
The Ark wanted from this project:
_ Finding a way to involve children in the _ Child centred activity (one generation for
_ Developing a model of best possible practice five years)
and evaluation
_ Quality arts activity
A ‘mission’ was agreed: As citizens, the
children of Fatima will have the opportunity to
engage with child-centred, high quality, cultural
experiences, which nurture their creativity,
enrich their lives,and help shape the future of
their community. Goals were set.
_ Enrichment/confidence building/self-
awareness in children’s lives
_ Co-operation and integration, especially in the context of the unique regeneration project
_ Social inclusion of children
_ The Ark becoming a learning organisation, decision-making process
_ Agree a plan of action informed by the
Work developed on the ground. Projects in
1999 had first introduced The Ark to Fatima.
There was a range of activity covering literature,
theatre, music, visual arts, photography and an
environmental project.
ethos and values of the Ark and the FGU social agenda
_ Provide resources and a base
_ Explore involving parents, children and schools in participation, decision-making and communication
_ Achieve a successful artistic programme staffed by skilled artists
_ Monitor, evaluate and feed back
In 2000 there was a literature and visual arts
project, theatre, music and other visual arts
projects. 2001 saw projects in spoken arts/
literature, theatre, visual arts and music. Trips
took place to see Russian Ballet and to look
round the Irish Museum of Modern Art, the latter
situated at Kilmainham, close to
Fatima Mansions.
Short-term goals To be achieved by Dec 2002
_ Establish the structure to implement
the project
Medium-term goals To be achieved by Dec 2004
partly through this project and through development of a model of practice
_ External communication
_ Incremental development
Key objectives were agreed as:
Long-term goals To be achieved by Dec 2006
Achievement of the mission
_ Obtaining parents understanding of and co-
option into the process
_ Ensuring intensive engagement
_ Providing resources, including a base and creating a safe space to try things/aim higher (in small groups)
_ Linkage to FGU’s annual plan/FGU structure for culture and arts and creating a structure for management of the project
_ Contacting the particularly excluded
_ Protecting the ethos and values of The Ark
_ Achieve a model of best possible practice
_ Achieve a sustainable continuing project linked to both FGU and Ark strategies
_ Develop a critical mass of adults (e.g. parents, school staff, artists) who have interest in children’s lives and who can influence the mainstream to take account of the outcomes (through change in their own practice/capabilities)
The 2002 projects were in theatre, music, visual
arts, sculpture and storytelling. Trips took place
to an animated film, to theatre at Tallaght Civic
Theatre and for the children to be interviewed for
RTE Open House.
It is very clear that the wide-ranging
opportunities were appreciated and generally
successful. Standards were generally high
but not always so. Quality was insisted upon
and there was no wish to compromise on this
aspect. The pressure was there to generate work
and be successful, but this very aspect, which
proved successful, conversely prevented there
being enough time for strategy development,
which undermined progress. When the project
became more strategically focussed in late 2002,
it became much better placed for co-ordinated
future development.
15
ArkLink in Fatima 1999­—2003
Where artists were most successful was in their
easy way with the children and their community.
The best appointments had not always been
made, and there is evidence that someone very
skilled in the context of working in The Ark in
Temple Bar would not necessarily have the skills
needed in the community. In such a situation it
was draining for the project manager to try to
inculcate in the artist a sense of the approach
that arts in the community required.
In The Ark, the model of activity had been
projects that involved children up to a maximum
of eight weeks. In ArkLink a whole new level
of commitment was recognised. It was argued
that this commitment was crucially important.
The actual long term relationships with individual
children led to artists in the community feeling
committed to the children, committed to the
community and committed to the artistic
experience. That commitment was observed by
the evaluator and commented on by children,
parents, teachers and community workers,
indeed everyone consulted.
If sufficient commitment was not shown it needed
to be challenged, and in an isolated circumstance
where this was the case, it was not. Some
children on a few occasions voted with their feet
and stopped attending. By the end of 2002, with
a good team of artists in place, this ceased to be
an issue of concern.
Artists argued that workers needed to have
empathy and care about local people, and feel
they are equals. It can happen that, in society
and in the arts, some people look down on those
in more disadvantaged situations. There can be
no place for this attitude was the ArkLink mantra.
certainly relaxed about art, claimed the
same worker, and showed pride in all of their
children’s work.
It took until late 2002 to achieve a situation where
the children came regularly most weeks and
accepted that although the project was fun, it
needed to be taken seriously.
Perhaps they might also try the cartwheels.
Following a visit to the ballet, the level of
exuberance of the children was such that they
came out doing pirouettes and cartwheels in the
theatre foyer. They put a smile on the face of the
rest of the audience who missed the subsequent
singsong on the bus.
The children could and did get very excited about
the work that the artists were stimulating. There
was now a more confident and ‘communityfriendly’ child-centred approach in place.
A challenge for the next phase was to make
parents more a part of what was going on.
With this there was a noticeable change in the
children. Initially when they arrived at The Ark
in Temple Bar for a performance the children
would always arrive late and be ‘hyper’. At times
they would bring younger children of unsuitable
age. Now they arrived on time, didn’t bring any
siblings that were too young and were very
relaxed coming into The Ark. They stayed to the
end, which was also a change.
By the end of 2002, clear progress was
discernable. Organisational difficulties in The
Ark played a large part in ArkLink losing its
Project Manager. This member of staff was
‘head-hunted’ to return over a year after giving
her notice to leave and it was not to be until
2004 that the project was really achieving its full
potential on the ground with a base of its own,
artists who were well settled in a developing
routine and practice, and the support of a project
manager with a safe pair of hands.
They started to sit together to work out the
children’s rights and responsibilities in this
venture. Building of relationships by the workers
with parents was also proceeding. Parents never
had this experience themselves and some said
they would always have thought of the arts
as for ‘viewers’. Now they were beginning to
think ‘doers’. One worker felt that initially, some
parents might have been embarrassed about a
child’s work, from a perspective that it would be
awful to get something ‘wrong’. Now they were
2003 was a year of slow consolidation and some
interruption. In the first half of the year there were
many workshops, which showed the potential
and connected well with the children. After the
summer, apart from some storytelling there was
little visible activity until late on through loss of
the activity space in the Parish Centre. There
had been an expectation of an autumn restart
in a newly converted flat provided by Dublin
Corporation. Despite the children’s expectation
of a resumption in September, it was December
before their expectations were to be realised.
It was clear from the adults involved that the
children were interested – there was ‘loads of
interest’. The children had been asking about
resumption but delays accentuated by the
absence of a project manager meant that they
were frustrated for a few months.
With a new activity space – a disused flat
- coming available as 2003 ended, things
were seen as ‘looking good’. The highlight of
the year was undoubtedly a public viewing,
which was important in showing the quality in
the kids’ achievements. It was also important
in communicating with the community and
positioning the children in a positive light within
their community. This was the launch of the new
space and was no simple event, but a complex
opportunity to promote children and their place
in regeneration. The children were encouraged
to play a full part, to the extent that a chief guest,
the Lord Mayor of Dublin, could not get away as
the children quizzed him on many topics. The
children were in charge of their own work and of
the collective space of the opening.
At the end of 2003 there was the feeling of a new
beginning in 14e Fatima Mansions, the home of
the project for the next two years or so – until it
would be time to release it to the hands of the
demolition contractor.
16
ArkLink in Fatima 1999­—2003
Partly prompted by its experience to date in
Fatima, the way in which The Ark was working
with the children was being re-evaluated.
Markers were set down about the Ark’s aims in
the process. What they now sought was:
_ High quality production values
_ A structured thought out approach
_ An intervention that was ‘customised/
calibrated’ to the local people
This was partly a reassertion of their earlier
values and approaches, but the seeking after a
‘structured thought-out approach’ was new. In
the future this might protect them from entering
into projects where they could openly recognise
that the ‘end point was unknown’ as had
happened with ArkLink. While a certain amount
of uncertainty would essentially be present in any
innovation, these new ground rules could at
least make clear what was the area of uncertainty
and what were the basic principles.
By the end of 2003 and within their developing
programme the artists did perceive real progress.
For them the key was to have a programme that
was alive and valid to the children’s lives.
Among the changes noted by the artists in
participating children were:
_ Increased self-esteem
_ Sense that they knew they were held in higher esteem at school for their ArkLink activity
_ Greater confidence, at times developing through one-to-one interaction with the artist
_ Skill development and technical progress, but perhaps slower than with groups of similar age
_ Greater ability to start something and see
it through
_ Greater ability to help others and be supportive
_ Greater feeling that Fatima was a ‘cool’ place to be
_ Pride to take artists to meet their parents, have photographs taken with them
The artists reported very positive feedback from
parents attending the launch. These parents,
and there were many, were uniformly pleased
that their children were attending ArkLink, and
they recognised how keen their children were to
attend. The children liked the artists as ‘people’,
and saw them as ‘real’ persons.
The artistic approach embedded by now was
to allow freedom. The artists wished to avoid
any sense of rush. There were differing views
on the validity of ‘product’ driven work, one of
the artists feeling it was not appropriate, while
the other accommodates this kind of work.
Both agreed that time was essential for the
children’s experimentation. Reactive work to the
regeneration agenda or community agenda could
be added, as the new flat was to be open more.
Other personnel, including volunteers, could
service this work that was reactive to
community needs.
Artists were confirmed in the view that what
shuts children down is a lack of ownership of the
activity, or when they do not want to do it at ‘that’
time but come back to it later. Children should
be able to complete and engage in their own
time recognising that motivation can change.
This view has important relevance in planning
artistic activity for children, and it needed to be
recognised that the method is resource-hungry.
By the end of 2003, it was recognised that
working with younger children should also be an
aim. This could have real benefits by the time the
children were older and then as older children,
they might be happier to experiment. It was
agreed that two age groups could be addressed
within ArkLink – 4 to 7 years, and 8 to 12 years.
Also by the end of 2003, some community work
professionals in the area saw this as a unique artin-the-community project, built on experience and
about process and high quality work. One such
professional articulated that, in his experience, he
was not aware of such a well-resourced project
that allowed dedicated group work with a
small-scale arts group over such a consistent
period of time.
Already one other Fatima-based project had seen
some of the ArkLink children move on to help out
with summer activity for younger children. The
skills and confidence, felt the worker concerned,
had to ’have come from the ArkLink project’.
Even if such children faced future adversity, these
were skills that she saw as having ‘the potential
to carry them through their lives’.
This was an example of significant progress
at the end of the more difficult ArkLink years.
Interestingly, the parallel and unrelated
experimental programme in the arts, ‘Creativity
in the Classroom’, took about six years to really
begin to work properly according to some
educational sources.
17
ArkLink in Fatima 2004­—2005
Demolition of the flats, which had started in 2003,
continued through 2004 and after the summer
the first of the new houses began to take shape,
with rafters of the lower rise buildings already in
place by the end of the year. Residents began to
raise their hopes as they saw ‘light at the end of
the tunnel’. Where there had been considerable
pessimism and scepticism about the future
housing arrangements, this was gradually being
replaced with optimism and feelings that the
residents were not going to be let down this time.
The new light railway line (LUAS) passing on the
north side of the Fatima estate opened in autumn
2004 and was an immediate ‘hit’ with local
people who enjoyed a new rapid connection to
the city centre, and in the opposite direction, out
to Tallaght. It proved a boon for travel between
The Ark and ArkLink. Various community
initiatives continued to support residents and with
The Ark project manager once again in place, the
Ark initiative became much more directly involved
in community life.
At the local primary schools, Mater Dei and
Basin Lane, there was an increase in the direct
relationship with The Ark in Temple Bar.
Mater Dei in particular continued to be an
important source of information on the
changing profile of children in the area, and
their connection with arts initiatives including
ArkLink. FGU continued to be the key on-theground player and with the project manager in
place, ArkLink was able to play a fuller and more
strategic role. ArkLink was connecting with FGU
strategies for:
_ Culture and art
_ Children and young people
_ Design and development of the physical infrastructure
These strategies were seen both locally and by
the city authorities to be working.
The general environment was one in which
ArkLink felt comfortable and in which the
community felt comfortable with ArkLink. On the
ground in Fatima, the 14e Fatima Mansions base
saw an uninterrupted full year’s work in 2004 and
2005 and was well used throughout each year.
Having the flat was a key element. It made real
difference and there could be no comparison
between what could be offered in previous years
and what could now be offered. Children, parents
and neighbours soon became comfortable with
this new community facility with its welcoming
and open approach.
By the end of 2004, The Ark and ArkLink were
both in a much healthier state than they had been
at the start of the year. By the end of 2005, both
had made further progress and ArkLink was very
much part of the community infrastructure.
Key ingredients of the development of the
project were:
_ Flat 14e Fatima Mansions provided a base to house an increasing number of children aged 4 to 13 years and facilitated a developmental approach (in contrast to the more ad hoc previous experience)
_ 14e was converted by knocking two larger rooms into one to provide a good sized
arts space
_ Project Manager in post with an office within the art base
_ Two core artists doubling their time commitment to provide a four-day workshop programme
_ Local parents joining the staff team through the Fatima Community Employment Scheme and playing a significant part in developing and expanding the project, including developing their own skills in leading workshops
Other factors of significance included:
_ Additional artists involved bringing new skills and opportunities, e.g. film making
_ Consistent support from The Ark staff
An increasing number of the children coming
were seen as more ‘on the edge’: more
significantly in need. This was a further advantage
of the base at 14e. From staff experience and
judgment, ArkLink estimated around 50% to be
in significant need. These children were seen to
need and were given ‘endless’ support. Some
were seen by some of the staff to be left to their
own devices on a fairly consistent basis, while
others were seen to have a very stable home
life. For most, their lives were very focussed on
Fatima Mansions with few attempts to go outside
their territorial area.
The list of projects and themes during 2004
reflected a very intensive and varied experience
at the centre of children’s lives. It also reflected
the significant programme that could be delivered
with premises of their own for the first time, and a
full team working to clear objectives.
Best Friends Calendar – Launch in January of
the children’s work on this annual publication
Horticulture – Seed planting in the studio and along the line of the new LUAS light rail line
Superheroes – 3D model making creating heroes with super powers
The Firebird – A play based on a Russian fairy tale using a wide range of media
_ Expansion of schools work
_ Exploration of The Ark as a mentoring
Vox Pop – Attending shows and workshop as critics at the 4th International Dance Festival
resource for children taking interest in particular areas of arts-related work (e.g. one child learning lighting and other technical skills)
Visit to Abbey Theatre – Rosas
dance performance
18
ArkLink in Fatima 2004­—2005
Botanic Gardens – Plant study and photography
Visit to National Gallery - Two exhibitions, ‘Accession States’ and ‘Children in Paintings’
Visit to the grounds of the Irish Museum of
Modern Art – Easter egg hunt
Visit to the seaside at Skerries – Train trip, conversation, picnic and fun
Musical games – Workshops on percussion, music and song
Hands Up Puppet Making Workshop at
The Ark – A group from Fatima worked in a
wider group
Plant an Idea Mosaic Workshop at The
Ark – Three Fatima children participated
Travel Notes, a musical experience of
world cultures at The Ark – Workshop on
flamenco rhythms
Make The Video, a music video making
workshop at The Ark – A one-week workshop
for Fatima children
Sock puppets – From a variety of materials making puppets (one session included making Rice Krispie cakes)
Portofino Ballade at the Dublin Theatre
Festival – A one man show from Switzerland
It’s a Jungle Out There – A week of activity on a jungle theme
Buffo at the Dublin Theatre Festival – A very
funny French one-man show
Clowning Around – Face painting, making balloon animals and doing simple magic tricks
Envelopes and Packages – Another French
one-man show
Clown Show – Short show in 14e
Christmas Party – Activity over a number
of weeks leading up to the event making
decorations, cards, crackers and candles; and
the event involving parents and the
wider community
Hip Hop – Dance at the community centre
Inklings – A visual arts/storytelling programme
extended from The Ark out into Fatima
Summer Video Diary – Project with Katie Lincoln
Video Diary – A project with Kieran Doyle
O’Brien documenting the ArkLink experience
Paradiddle Sound Making and Percussion
Workshop at The Ark – One child attended
Schools Programme – Workshops for parents
and other adults in the community in order that
they too can have an experience similar to
the children
Sound making and percussion – workshops for
children in the Fatima Day Care Centre
A typical ArkLink session would see the children
arriving after school, knocking on the front door
and after being admitted making their way quickly
to seats round the communal table. The walls
would be decorated with their work. Some
tables and windowsills would also display work
including work in progress. In the storeroom
would be resources to be brought out, including
work in progress.
At the start of a new project there would be
more dialogue between artist and children, and
also at the introduction of any new theme or
new technique. Visual tools would be there to
stimulate the children’s thinking and creativity,
and rather quickly work would start. There was
a conversational approach that was allowed but
rarely used as the children concentrated on the
work in hand.
Every session emphasised the fun of being
creative. Every session encouraged every child to
be creative.
The whole session would have the feeling of a
well-structured event but allowing for innovation
and divergence, as the tutor would flexibly
respond to new ideas. One day the children
would be talking about the balance of the
colours, on others about the texture of materials,
on others about perspective. Discussions would
take place as a group and with individuals about
how to achieve the subject of their plans.
The tutor would maintain the focus on the plan,
ably assisted by the other adult participants. All
the adults present, community helpers, project
manager or evaluator, if present, were also
engrossed round the table in the work at hand.
The adults, including the evaluator, were generally
carrying out the same tasks as the children. Each
week there was new vocabulary being learned,
new techniques tried, and some new
ability progressed.
Different materials were used, with the children
encouraged to experiment with tools used in
unusual ways, e.g. painting with sponges, block
printing with available items. This showed how a
whole range of unusual effects could be achieved
through experimentation.
There was intensive discussion some weeks, little
discussion other weeks. Each week, at the end
of each session, there were snacks and drinks,
with this aspect an equally important aspect of
the process – and a time for chat.
Visits away also had the feeling of carefully
planned ventures. Cameras were taken if
documentation were needed. People were
organised to meet the group at their destination
and the children became comfortable in their
questioning of the adults they would meet.
The children grew to understand the skills of
being observant while out and about, and how
to spot aspects they would normally miss.
They understood that research and enquiry is
important, and at times vital.
A further description of the model of work taken
from a facilitated discussion between the core
artists and the project manager is in Appendix 1.
Work in 2005 continued along similar lines, with
the children facing new and exciting challenges.
19
ArkLink in Fatima 2004­—2005
Connections with the local schools were
maintained throughout the time of the ArkLink
project, initially fairly informally and later more
formally. Efforts were successfully made to
increase linkages between the two key primary
schools and The Ark venue in Temple Bar. The
foundation for a developmental programme
between ArkLink and schools was never
fully laid and would have required more work
for an effective programme to be delivered.
Notwithstanding, staff in both schools were very
enthusiastic observers of their pupils as they
reacted to the ArkLink exposure to the arts.
The local schools were a continuing location
for the gathering of corroborative information
on child development. This was important,
along with parental and community feedback in
validating the experience of ArkLink staff.
In one class at Mater Dei, it was possible to get
very positive indicators of continuing progress
during 2004. Out of a class of 24, ten were
involved in ArkLink. From the children, the
teacher was hearing about the ArkLink work ‘all
the time’. She was impressed by what she heard.
The ArkLink work lead to a lot of chat within
the school community so was seen as of some
significance to the school children’s lives.
The teacher was able to describe the progress
of three children. In particular she would have felt
some children would not have progressed within
school without ArkLink. Children A, B and C had
learned many new skills and had been clearly
exposed to many new stimuli. C, who suffered
from depression, used to copy everything she
did but now her confidence had grown and she
could deliver her own work.
Formerly, two of this small group used to have a
love/hate type of relationship and regularly two
would isolate the third. It is the process they have
been seen to go through in ArkLink that was
identified by the teacher as the process that has
ended the isolation of the third child. One was
identified by the teacher as ‘terrific at art’, really
gifted. These were among children recognised
within the school as in need. The teacher
recognised that the basic ArkLink story ‘is one of
taking such children in out of the rain, giving them
some food and then doing art’.
The children were generally conscious of the
teacher’s knowledge of the ArkLink project and
this helped the teacher to plan the dynamics of
classroom activity. Key outcomes of ArkLink
that this teacher identified were that
_ Children are artistically more competent
_ Artistic skill has been developed
_ Children are not afraid of art or of expressing themselves
_ Children can express more complex ideas
_ There was no way that these children could do these things last year
One pupil, D, had commented in school ‘I’m so
much more happy this year – I’m not the worst
in the world – I’m quite good at art – I may be an
artist when I grow up’. Now D had become used
to receiving positive affirmation. In the past she
had mainly experienced battling against attitudes
and negativity.
key successful ArkLink methodology was that
the child was treated with dignity and respect
and that each was treated as an individual. In
addition, ArkLink staff were seen as passionate
and caring, especially the project manager.
‘When kids know you’re passionate about them
they will do anything’.
Generally, ‘I can’t’ was seen as a common child
reaction to being asked to do something more
challenging in school. This was especially seen in
mathematics and Irish language teaching. Now
those children from the ArkLink project, who
might not have done so, would try. ‘I can’t’ was
not used. What the teacher felt had changed
was that the children felt that ‘trying is alright’,
whereas the year before, their attitude to trying
was completely negative.
Other strengths of the process identified by
the school were:
It was noticeable to school staff that collaboration
between the children had increased. In the past,
where art materials were put out, there was a
tendency by the children to grab everything.
Now the children from ArkLink saw that they did
not need to hoard or be greedy, as they knew
they had consistent access to quality materials
through ArkLink. One example was given of child
E who had been particularly greedy in the past
and who, in response to a request from F,
came out with ‘it’s kind of killing me but you
can have it’.
_ ArkLink has very skilled artists who have ‘been This teacher was not at all surprised that it had
taken ArkLink or the community to reach where
they were now. She saw that the community
needed to learn how to trust people who came
into their community. She felt everything was
much more solid now. What she identified as the
_ Children are given time to look and to respond to ideas
_ Their language development has become more elaborate
_ Skills such as ‘cutting’ and ‘manipulating materials’ are being generously handed on to others in school by ArkLink children
around the block’ and who know how to pitch it according to the appropriate child development stage
_ ArkLink has artists who are very good at and willing to talk with, rather than at, the children
_ In 14e, significant social development is
being aided
The process was seen to be about ‘nurture,
kindness and art was in there’. ArkLink
was ‘vital to the stability and development’ of
these children.
20
ArkLink in Fatima 2004­—2005
Teachers were very happy to ‘pinch’ ideas and
pass them on to other teachers. Having more
artists input in schools, teachers asserted,
paid dividends, as teachers are always looking
for new ideas. The Firebird project, a longerterm performance and multi-media project
that demanded consistence attendance was
encouraged by the school. The project grew
through storytelling and imagining situations,
through visual arts activity, costume and play
acting, on completion into a performance on
stage at The Ark’s theatre space.
In general the schools had found it difficult to
get parental support and it was viewed as near
impossible in most cases. Two out of twenty two
parents turned up for one parent-teacher session
in one school. ‘Yet, ArkLink is engaging with the
parents’, said the teacher.
For the children, their varied programme of
stimuli has clearly been significant in their lives,
particularly against a background of a multiply
disadvantaged community, and one going
through total regeneration.
For the artists, the Firebird project had been
an opportunity to ‘hook’ the children onto a
developmental longer-term project. This worked
very well and showed a worthwhile model. As a
result the artists saw that model as a useful way
of contributing to organisational and aesthetic
development. The artists felt that as artists they
were achieving real progress, helped by the
structural changes to the project situation.
With some of the children, the artists felt they
were providing a real solid base for support
and progress, while with others they had not
yet found the solution. The artists continued
to emphasise that their approach of allowing
choice within a fairly structured approach worked
best – if a child was not in the mood they
could work through their feelings and return to
creative endeavour when the child was ready, on
occasions with a little encouragement. The artists
felt that this practice suited the needs of the
children. The artist needed to understand subtle
differences of temperament and
accommodate these.
Through this approach the artists were finding
they could be much more relaxed about letting
the children grow in their own time and at their
own pace. They didn’t worry about a child
not finishing or destroying work, as this was
recognised as a phase a lot of children go
through. This was no longer seen as a setback
but as part of the growing process. The artists
also learned over time of factors that might
influence the child’s lack of completion. These
factors could often relate to a family problem that
was preoccupying the child.
Conversely, some children always kept in
touch and wanted more and more challenging
involvement. The majority were in between. One
went through periods of inactivity then burst into
activity, but always kept in touch. For three years,
this one was always hanging around if not totally
engrossed. However, this one and another child
helped the staff team with the youngest children
one afternoon of each week.
For the artists, working with the smaller children
was a new experience in 2004. By the end of
that year they were into a routine and could
concentrate for the 40-minute session. Also,
they would know what they wanted. The
youngest group came every time and couldn’t
wait to get in. They commented a lot on each
and every thing.
With ‘Creativity in the Classroom’ running
alongside the ArkLink project it was possible
to look at outcomes from that experiment, but
more closely to look at teacher perceptions of
differences between ‘Creativity in the
Classroom’ children and the smaller group of
ArkLink children.
‘Creativity in the Classroom’ had been seen to:
But all children increasingly conversed. For
example, while preparing decorative frames for
the 2005 calendar, one 7-year-old expressed the
opinion that this activity is ‘like doing the Book
of Kells’. When asked by the artist whether she
knew that the monks who created the Book
of Kells would put their initials into the decorative
page frames, the child responded, ‘yes, I’ve
already done it’.
Artists watched as the children grew in visual
awareness and visual vocabulary. The world of
school came much more into the discourse and
the children made more connections between
these two different aspects in their lives. The
world of the schools was still a fairly unknown
territory for the artists but both core artists
recognised that the children consistently made
connections between what they did at ArkLink
and at school. The children recognised that
what was happening at ArkLink was much less
structured than their schools experiences.
_ Create a climate in schools that was open to the arts and creativity (‘cleaners to
head teachers’)
_ Bring vibrancy into class activity
_ Bring in a culture in schools of willingness to make things work
_ Create understanding of arts
_ Create trust in the arts as a vehicle for education with total acceptance that the arts activity is a ‘journey’
_ Create more confidence in many children, especially among those seen as most multiply disadvantaged
_ Create leaders among children
21
ArkLink in Fatima 2004­—2005
Where ArkLink children were experiencing both
projects, those that stood out within ‘Creativity
in the Classroom’ activity correlated with the
ArkLink children. The ArkLink children were more
likely to be the ones showing leadership in the
classroom arts context.
These were often the ones seen to express
themselves better to adults. Even in some
cases where literacy might be poor, the arts
skills provided the means for these children to
communicate more confidently and better. These
children opened up more before the teacher so
both the child and the teacher were learning. One
educationalist noted that the ArkLink children
knew that the teacher does not have all the
answers, whereas she felt that other children
would be more likely to view the teacher as
expert. She felt the point was that the children
were demonstrating their resourcefulness and
recognising that they could come to ‘the answer’
by their own actions.
The ArkLink artists were clear that the children
had progressed enough to be able to work faster
and more innovatively in their projects. Also,
the artists reported very positive reactions from
the community and from the children who felt
at home in their new arts setting. Parents have
reported to the artists that ArkLink has made a
marked difference to their children’s attitudes
and discipline at home, comments corroborated
in meetings of small groups of parents. Parents
expressed being very pleased at how much
better behaved their children had become.
(This does not mean that they will always be
well behaved.)
In early days the artists felt that many of the
children didn’t respect any rules. Through their
involvement in ArkLink they had come to accept
that there have to be rules. Agreements were
reached on issues such as not talking about
other participants behind their backs. They
agreed they must not fight. Misbehaving children
were asked to ‘please leave’ and come back
when prepared to accept the rules – a sanction
that was rarely used.
By 2004, both artists identified a number of
factors in the children’s work and approach:
_ Confidence
_ Application to the task
_ Speed of engagement
_ Increased skill levels, especially those with three years involvement
_ Greater manual skills
The artists came to recognise that the parents
had become much warmer about what was
going on in ArkLink, but for some parents there
was still shyness about contacting the project.
Other neighbours without children were also
making the effort to be warm towards 14e
activity, even some who, according to staff, were
viewed locally as an anti-social element. The
artists came to feel really rooted into
the community.
_ End to the major difficulty of keeping focussed, Always aware that they were, to a certain extent,
working in the unknown against a background of
flats demolition and rebuilding, one artist argued
that what was then being done against that
background was actually happening at a ‘golden
time’. The artists could not see the 2004-5 level
activity lasting in the same form. ‘I love this time’,
said one of the artists and she was keen to get
on with the work while this time lasted, as she
recognised it wouldn’t be the same ever again.
_ Ability to take unprompted creative initiative
ability now to work on longer projects, stay with them and complete
_ Expressions of frustration among some children that they are not as good as the artists
_ Awareness that they have to work hard and that we are all artists
_ Voicing opinions, ‘a great step forward’
_ Deeper and deeper relationships forming
The artists credited the contribution of the adult
helpers as being particularly effective. They had
been recruited through a local employment
scheme. These helpers were keen to have a go
and provide a local role model to the children in
the process.
In one session towards the end of 2004, one
child was messing about and articulating ‘I can’t
do it’. When asked, why give up so easily; the
child responded ‘our parents tell us to give up if
we can’t do it’. The artist’s response was that if
you give up easily you don’t win.
In the lead up to Christmas 2004, when it was
agreed that 14e needed to be decorated, Two
children teamed up together and took on the
entrance hall, and quite suddenly transformed
it, not in any planned style and unsupervised.
Others followed suit so that there were several
small teams working away. ‘This could not have
happened a year before’. Examples began to
be seen of the children refusing to move onto a
further piece of work until they were satisfied with
the standard of what they had achieved. This was
another progression. One example was refusal,
while creating masks, to leave these until entirely
happy with the paintwork.
The artists felt they could be much more
relaxed with the children as a result of their own
growing confidence in their practice and as they
could sense the real aesthetic advances now
happening. This confidence allowed the artists to
allow the children to fail. The children were now
allowed to go so far in what they were creating they could even destroy it - and learned that this
was also all right. The children no longer simply
22
ArkLink in Fatima 2004­—2005
thought the tutors were looking for ‘products’.
The children learned that ‘half way’ to what
they are trying to create may be beautiful. They
learned that they could then choose whether to
go on and perhaps destroy that beauty. Children
increasingly were being encouraged to trust their
judgment and to develop better judgment.
One example of children’s judgment was in
‘The Firebird’ performance. N was allowed to
take on two parts because she insisted she could
do both. The artist knew she had the capacity
to do it but not enough time to change costume
between acts. She pointed this out to the child.
N insisted to the point of coming up with a clever
solution where she would wear both costumes
in layers. In the end she was allowed to do so
because, since the beginning of the year she had
been very ‘moody’ with a lot of attention seeking
and generally ended up destroying her beautiful
artwork. The artist judged that it was better for
the child to find out for herself rather than be met
with a straight ‘no’, which would possibly have
caused more ‘moodiness’. During the action of
the play and in front of the audience part of the
top layer of the costume would not come off
quickly enough.
M pushed her out on stage with only the half
costume on. Afterwards when complimented
that ‘you were really good’ N said ‘no I wasn’t,
I ruined it’. There was a change in both children
and instead of moaning about things, children
now had become more likely to find constructive
things to say. That year N came to show
greater maturity, greater skill and she no longer
‘destroyed her artwork’.
As earlier indicated, parents became very positive
about the ArkLink work. They quoted examples
of children showing more care for the younger
children. They saw children that were more
positive in their attitude to themselves and to their
environment. Children were all very positive about
going to the ArkLink programme, indeed much
more enthusiastic than about going to much of
their other activity. Much other activity available
was not of this quality and generally had not
lasted. Parents saw that the ArkLink activity had
these results:
_ Four out of five children in one family attend and all ‘love it’
_ All the work is very practical
_ Gives a ‘buzz’ in the community
_ Gives the community as well as the children a sense of achievement
_ Removed barriers on the estate (before 14e, some parents would not allow children to cross the road divide that separated parts of the estate)
_ Parents meet more because children
_ Children love coming to ArkLink
meet more
_ Builds confidence
_ Allowed friendships to develop between _ Makes children more thoughtful
parents across the divide in the estate
_ Children have learned to encourage each other
_ All of this was seen against parental comments _ More bonding between children
that the schools were less able to get the children’s enthusiasm going.
_ Children more relaxed
_ Behaviour better
_ Helped a child that thought she was ‘crap’ to recognise she is ‘good’
_ Takes kids to places that parents can’t
_ Parents can now give paper at home on a rainy day and the children will be engrossed
_ Children’s manual skills better
_ Children more imaginative
_ Children make ‘beautiful’ things
_ Children now more confident in school and the parents are told this by teachers
One child who had been attending bereavement
counselling had greatly improved after a difficult
time. The counsellor had been using arts
unsuccessfully to try to encourage expression
of feelings. The counsellor was surprised to find
sudden change and strong and skilled expression
through the arts by the child. The counsellor
asked the parent where this was coming from
and learned of ArkLink. The parent was sure it
was ArkLink that helped the daughter get by.
Now she was more attentive to reading and
writing at school.
There is a general feeling among a number of
parents that going down the ‘imaginative’ road
helped with reading and writing in school.
Parents became aware that their children liked
the art classes at school, as they were able
to display real ability. Parents now felt very
positive about the arts. Before, none would
have considered their children might develop an
artistic career – now they all could see that was
an acceptable future and some could see their
children doing just that. When asked about their
child’s potential to become an artist, one parent
asserted and the other parents agreed that
five years ago they would not have understood
the question!
Parents also wished they’d had something like
this in their young days. Summing up what it is
all about, one parent said we know they’re safe,
we know they are using their brains, we know
they are mixing well and we know that if anything
is wrong we will find out through ArkLink staff.
Parents also valued the occasional visits from
‘foreign’ visitors to 14e, and felt it was great that
their children met people from other places.
The artists have ‘the patience of a saint’ was
another popularly endorsed comment.
‘We’ll be protesting if ArkLink does not continue!’
said parents.
The parental views are corroborated by what
they have said to other professionals working in
Fatima. Other professionals working with parents
in the community got totally positive feedback
from parents about how strongly they were in
favour of the experiences and support their
children were getting through ArkLink, and of its
positive outcomes.
23
ArkLink in Fatima 2004­—2005
By the end of 2004 the project was already
viewed as a very considerable success and
the agreed key factors, among the various
stakeholders, in this success story were:
(FGU) who accepted art as a tool and took it for granted in relationship to everyday life, not some mysterious great leap forward
_ Artists who knew how to work in a context
of social change and social engagement, and who were open to learning more about these skills on-the-job
_ Capacity for the artists to work without many of the resource struggles that are the norm. Artists in the community who have the space, resources and freedom to get on with the task are not the norm
_ A child-friendly approach reaching a genuine cross section of the community
_ A project manager who was comfortable with the child-oriented philosophy and had the time to support the artists, the children, their parents and community connections (artists don’t usually have that help)
_ Local parents as support workers, prepared to have a go and who valued the process for the children and for themselves; and who were
now able to run workshops on their own
(indeed they were also able to show leadership to school teachers in teacher training sessions)
_ Strengthening support emanating from
The Ark at Temple Bar that was able to extend opportunities and add resources
_ The Ark becoming more flexible and comfortable with its outreach work
_ Strong community support, particularly
from key players in Fatima Groups United _ Practical integration of the four services dedicated to 4 to 12 year olds, who liaised with each other and supported children’s attendance to all (ArkLink, Fatima Youth Initiative, Homework Club, Fatima Youth Club)
_ Extensive exposure of the children to art and creative thought, to a remarkable extent and variety for children of this age
_ Children themselves developed. According to teachers, in projects where they interacted in school with other children from other areas they ‘nearly wiped the floors’ in how they used the experience and they ‘frequently led others in group sessions’
_ Developing links to the schools, where the main developmental out-of-family experiences for the children were taking place
_ Achievement of a common sense of
ownership of the initiative
By the end of 2004 the ‘prize asset’ emerging
from ArkLink was a concept and a practice that
could be promoted widely. Findings from ArkLink
activity would complement findings from other
innovative arts projects around the world and
nearer to home.
One continuing downside of the project was
the inability for various reasons to create a
community-based support group. None existed
initially and the efforts to create a Planning
Implementation and Evaluation group (PIEG),
while initially successful, floundered against
a background of other community-based
collaborative forums. In the community there
were many forums as involvement in the
regeneration programme increased and the focus
on social regeneration came to the fore. Among
these was a working group for children and
young people, which was a clear priority in
the community.
The PIEG group was influential for a time as
the project refocused, but the loss of active
involvement of key personnel, particularly of
the project manager, meant continuity was lost.
There are differing views on whether the loss of
the group was acceptable. There should probably
have been some such group from the outset in
1999 to see the project through its entire pilot
phase, to assist planning and evaluation, while
leaving implementation to the staff. This failure
was recognised by an FGU representative as one
area in which they had to share responsibility.
In 2005, the concept and practice was developed
and refined further. The summer 2005 ‘book
project’ is an example of greater ambition and
concrete outcomes. The ArkLink project allowed
children to design, create and bind their own
individual book. Building on earlier skill building
and the child’s own research and enquiry – and
this with some children who had quite significant
literacy problems. To adult observers, the
project made a significant difference in children’s
attitudes to books. On return to school this
change was recognised by teachers.
Previously, one child would huddle in the corner
if asked to read in the Homework Club. Now that
child’s attitude has transformed. He was proud of
the book he created and developed an interest in
books. This was seen as an exemplary practical
example of significant progress by both school
and Homework Club.
There were also examples in the street. Through
2005 a number of arts projects targeting other
age groups were in progress in the community.
High visibility activity included the work alongside
the new light railway, the LUAS, and within the
flats environment itself. Here the children from
ArkLink could see older people involved in arts
activity, reinforcing that this activity of theirs was
not just child’s play. Some of the ArkLink children
got into discussion with the older people about
the work they were doing. They understood
the work, they understood what it should be
and they wanted to do it. They were completely
comfortable with the vocabulary needed to
discuss the work. They came to such discussion
with skills, knowledge and confidence that
was not present in other children enquiring what
was happening.
Community workers in Fatima recognised that
these children had grown up more, in one way
or another, and that the whole community was
more aware of its children and held more respect
for its children than would normally be the case.
Indeed, they felt that the community placed
great confidence in these children and had great
expectations of them. In the summer 2005
community festival, the children played
important roles and what they did they did
with ‘supreme’ confidence.
24
Quantitative Assessment
The ArkLink project is taking place in one of the
most ‘observed’ communities in Dublin, a focus
for many who have studied the outcomes of
multiple disadvantages. In planning the evaluation
of ArkLink outcomes, it was agreed from the
outset that no way had been found for intensive
quantitative study if the project were to be
allowed to meet its key aims of fitting naturally
into the community. At that juncture it was a
choice of what was possible and what was not.
As indicated earlier, finding a ‘control’ group
that did not undergo the experience would
be impossible, and indeed the nature of the
experiment would not allow for the same groups
being followed unaltered through the years of
the experiment. Children left for many reasons
and new ones joined. The demolition programme
on the estate would ensure some left the flats
forever, while others stayed to be re-housed.
Against this background, the main corroboration
found was in the stories and reports of the
children themselves, their parents, their
schoolteachers and their community workers.
Finding a means of implementing a questionnaire
approach was difficult, not least because of the
slow start to the project. Once it was up and
running as a viable project, efforts to locate
school classes where a large enough number of
participants and non-participants existed in one
class proved difficult by the time a questionnaire
might be effectively put before them. Another
comparison needed to be found and the revived
Homework Club was chosen. The children from
the same flats, undergoing the same physical
regeneration scheme and attending the same
batch of local schools were in attendance at the
Club. Whether ArkLink attendees or not, most
children on the estate were in attendance.
The group chosen for the end of 2005 survey
were the 10 to 12 years age group, the oldest
group eligible for ArkLink, and the group most
able to contribute to the approach by written
questionnaire. The Homework Club staff
administered the questionnaire. Children were
required to give their age, their sex and whether
they attended ArkLink. They were also invited to
respond to six requests for information on:
_ Arts activity attended
_ Attitudes to the estate
_ Attitudes to school
_ Attitudes to art
_ What was best in their lives
_ What they were better at in skill over the previous year
It was hoped that something useful could
emerge, but as a result of the sample size
(18) being small, and the process within the
Homework Club being not fully ‘water-tight’ in
its application, some caution is needed. It may
be that the results would have been better for
ArkLink had the process been more rigorous.
Some interesting results emerged.
Of the 18 sampled, 4 were 10 years, 9 were 11
years and 5 were 12 years. Of the 18, 11 were
boys and 7 were girls. 56% attended ArkLink.
Had all the children attending ArkLink responded,
10 boys and 9 girls would have completed forms.
Visual Arts was the core arts activity of ArkLink
and clearly the attendees should have shown a
greater level of attendance at such activity, which
was the case. Only 1 of the 8 who did not attend
ArkLink attended art workshops during the year.
However, when it came to film and theatre a
closer attendance pattern emerged, but even
here there were differences. 33% of the children
surveyed had not attended a theatre performance
in the year, with only 2 ArkLink children not
attending while 3 non-ArkLink children did not
attend. When it came to theatre attendance of
between 2 to 5 times in the year, 5 out of 10
ArkLink children fell into this category whereas 3
out of 8 of the others were in the category. For
those attending only once in the year, there were
3 ArkLink children and 1 non-ArkLink child in this
category. No one attended more than 5 times
in the year.
With film, the strongest attendance figures
emerged with 100% attendance, and only 1
ArkLink child registering a single attendance.
7 ArkLink children and 7 non-ArkLink children
attended over 6 times, while 2 ArkLink
children and 1 non-ArkLink child attended
from 2 to 5 times.
When asked about attendance at a music
workshop, 14 responded in the negative. Of the
4 who had attended a workshop, 2 were from
each group. 1 non-ArkLink child had attended
only once, the other attending from 2 to 5 times.
1 ArkLink child had attended music from 2 to 5
times, while 1 had attended over 6 times.
These responses do clearly indicate that most
of the children are having cultural experiences
whether attending ArkLink or not, but that
those attending ArkLink are having the richer
experience, and that attending ArkLink makes
it more likely that a child would have a richer
theatre experience. ArkLink children are
marginally more likely to benefit from diverse
cultural experiences but when the art class
activity is added, there is a significantly wider gap.
Children were asked to insert words reflecting
how they felt about where they lived. Only 4
were negative about where they lived, with the
ArkLink two being clearly negative (‘filthy/in
bits/playground’ and ’dirty/not a good place to
live/rough’), while the other 2 were very negative
(‘brutal/shite/a dump’ and ‘stupid/crap/-‘).
8 in the ArkLink group and 6 non-ArkLink children
were positive about where they lived, a high and
noteworthy proportion.
25
Quantitative Assessment
Positive words used in the two groups were:
ArkLink –
Good / Exciting / Fun
Flats / Playing in the block / My ma’s home
Good / Very Good / Excellent
My Home / New houses / My family
Flats / New houses / Swimming Pool
Love living here / Playground / Football pitch
Portuguese word / Nice / Fun
Is the best / Is knocked down /
Rules other places
Non-ArkLink –
The best / Peaceful / Fun
Good / Best place / Brilliant
Brilliant / Exciting / Great
The best / Home / Fun
The best / A laugh / Home
The best / New houses / Fun
There is some difference in the overall responses
of the two groups with the ArkLink group
showing a little more complexity in what is
covered. But the majority view of their situation is
positive and it is a reflection of commitment
and contentedness.
Next asked to state how they felt about school,
half the children felt better about school than
they did the year before, while 5 felt worse and
4 about the same as the year before. 5 ArkLink
children felt better and 3 worse. 4 of the others
felt better and 1 worse.
In an effort to explore vocabulary when the word
‘art’ is used the children were invited to put in
three words they think of when they hear the
word ‘art’. Overall in both sections, the word
‘art’ evokes positive responses, with only one
non-ArkLink child being partly negative in the
response (‘don’t like it/some times good/don’t
like drawing’).
The responses were:
ArkLink –
The Ark / Pictures / Different Kinds of Paint
Deadly / The best / Clay
Very good / Stained glass / Painting
Pictures / Good / –
Fascinating / Encouraging / Pictures
Sculptures / Creative / Enjoyable
Colouring / Fun / Enjoying myself
Cool / Imagination / Creative
Drawings / Paintings / Colours
Clay / Enjoy / Fun
Non-ArkLink –
Fields / The flats / Painting
Like it / Painting / Pictures / Colours / Animals
Fun / Entertaining / Happy
Big drawing / Good painting / Artists
Portrait / Clay / Painting
Clay / Music / Fun
Although difficult to generalise, the two sets
seem to suggest the vocabulary used in the
ArkLink group of children is more varied, and
shows more complicated concepts.
The children were invited to suggest three
things that were best in their life at the
time of the questionnaire. Grouping the
responses revealed:
Family –11 / Sports – 7 / Arts – 6 /
New house – 5 / Friends – 4 /
Homework club – 4
ArkLink was mentioned by one and The Ark by
one. Asked what they felt better at this year than
they did last year the responses revealed:
Sport – 14 / School and school subjects – 12 /
Arts – 5 / Life skills – 4
100 (67) % of the girls and 67 (60) % of the boys
in ArkLink identified being better at a school
subject or in school generally. The respective
figures for non-ArkLink children are in brackets.
As cautioned earlier, care has to be taken in
what is extrapolated from these figures, the
sample being small, and the accuracy not being
guaranteed. However, it can be argued that a
sufficient number of indicators are emerging
that differentiates the ArkLink child from the
non-ArkLink child. One interesting dimension
is that although the parents identify the ArkLink
experience as of vital importance in their
children’s lives, this is not being named as such
by many of these children. Without asking them
why this is the case, it is not possible to do
anything other than hypothesise.
As the children clearly appreciate the experience,
are learning and growing through it, and have
products to display that show skill beyond many
of their years, is it perhaps that ArkLink is now
so embedded in their lives that it no longer
stands out? Were this to be the case, it would
be another marker of success and of successful
engagement with their lives.
26
Qualitative Appraisal
Whereas gathering quantitative data proved
difficult, the gathering of extensive qualitative
information was not problematic. Extensive
corroboration was available through the years
with feedback from all stakeholders in the
venture. Even when the project was performing
less well in its early stages, this revealed that
progress was being made. There is no doubt that
the absence of an appropriate arts base in the
community was seen by everyone as the greatest
inhibitor of early substantive progress by the
project and the children.
Once the base at 14e was in place, everything
became more tangible, and even although the
base was considered to be in a less than ideal
block for some parents, there is no evidence
that there was long-term resistance to children’s
attendance. In a community with a significant
level of anti-social activity, the best locations
for activity would be in or adjacent to the main
community facilities in the centre of the estate.
ArkLink was not the only project to have to
compromise and develop its more permanent
activity in a difficult social environment. Their
challenge was no different from that of stable
families in the same block facing a similar
challenge and succeeding.What emerged was
that the ArkLink studio at 14e became a haven
for positive expression and positive images.
Everyone viewed it positively and as it became
established the wider community that showed
interest, not just the families that saw their
children attend. So the elderly resident living
alone also showed interest, as would
the teenager who came to help if something
went wrong.
It was a very healthy relationship with the
community, created and sustained by the time
and effort of the project manager who built open
and transparent relationships, while the team
of artists got on with the job of helping with the
children’s development.
In many instances where development clearly
did occur, it was hard to determine or measure
exactly what the level of progress had actually
been. Big changes have been observed both by
the various stakeholders and through external
evaluator visits.
The children have developed broader outlooks.
Individual success stories are significant. One
child, recognised by the parent and school of
below average performance and placed in a
‘special’ school, had his life transformed through
the ArkLink experience. His artistic development
and aptitude resulted in him being given a place
in a different kind of special school. He was able
to command a place in a College that works on
a basis of learning through the arts. Prior to this,
he had been bullied and lacked confidence. The
arts activity at ArkLink gave him the confidence
he needed, reassuring him he was good at
something, and thus played this huge role in
transforming his life. He has not looked back.
Children themselves became more articulate
in speaking approvingly and constructively of
the experience within 14e, and on its visits
outside. Trips were one of the key attractions in
broadening understanding and knowledge. The
children recognised that they could experiment in
all directions, even to interviewing the President
of Ireland on film, or getting to drive in a large
limo as part of making a film. They moved
with confidence from their visual arts work into
almost any other arts field made available. Some
preferred to begin to look at film, others at music.
All the time they described these solidly healthy
and educational activities as ‘fun’. Many said
it helped them with their artwork in school and
some appeared at the top of their class in a
subject for the first time. Some clearly wanted to
be artists and their parents recognised this as
a viable future.
The children expressed confidence and affection
for their ‘great leaders’, the ArkLink staff. They
expected that ArkLink would always be there.
They have been doing things that are not the
norm for children their age. They have also been
taking more control. When RTE came to do a
fly-on-the-wall television piece, they were really
after a feature on the ArkLink member that had
become a bit of a celebrity in his earlier filmed
exchange with An Taoiseach.
This new piece ended up as a broader sweep of
what was going on, with the ‘celebrity’ member
of ArkLink getting himself out of the limelight and
behind the camera helping with the shooting! This
piece had been chosen by RTE for broadcast
in Christmas week 2005 as a ‘feel good’ item.
Indeed, changed days for Fatima, a community
much maligned in the media over the years.
That such exposure was possible was down
to a range of factors, reviewed, corroborated
and confirmed as present or learned from the
outcomes of ArkLink:
_ Increasing self-esteem
_ Sense that the children knew that they were held in higher esteem at school for their ArkLink activity
_ Greater confidence
_ Skill development, especially artistic skill, and technical progress, initially slower than with groups of similar age, but the rapidly progressing beyond competencies among the average child of similar age
_ Children are artistically more competent
_ Children are not afraid of art or of expressing themselves
_ Children can express more complex ideas
_ Greater ability to start something and see it through
_ Greater ability to help others and be supportive
_ From an initial negative attitude to trying, children learned that trying is worthwhile and transferred this learning elsewhere, including to the school environment
_ Problem solving skills improved
_ Collaboration between the children increased and was noted in the school environment and in the wider community
27
Qualitative Appraisal
_ Skills such as ‘cutting’ and ‘manipulating _ Some parents recognising their children’s materials’ are being generously handed on to others in school by ArkLink children
future might be in the arts as artists
_ Children are given time to look and to respond to ideas
_ Language development has become
_ Significant social development is being aided, including parents making friends in the estate
_ The key ArkLink methodology was that the more elaborate
child was treated with dignity and respect and that each was treated as an individual
_ Greater feeling that Fatima was a ‘cool’ place _ Skilled ArkLink artists are seen as having to be
‘been around the block’ and know how to pitch it according to the appropriate
child development stage
_ Pride to take artists to meet their parents, have photographs taken with them
_ Children shut down when they do not ‘own’ the activity
_ Motivation is a changeable factor and needs to be allowed for in planning the activity
_ Developmental arts work for children at their pace is a resource ‘hungry’ activity
_ The earlier age at which children can start their arts activity, the better the outcome
_ Confidence in arts activity can lead to confidence in other fields, at school and in community leadership, and in dealing with adversity
_ ArkLink has artists who are very good at and willing to talk with rather than at the children
_ Choice for the children within a fairly structured approach works best
The cumulative outcome of this extensive list
suggests that the quality of life of the regularly
participating children improved greatly, their
skills developed and the community derived
great benefit from the strengths created in
their children. This is significant achievement of
ArkLink supported by a complementary
multi-agency approach of which ArkLink was
an integral part.
_ Children expressing themselves better than their peers, especially to adults, and becoming more imaginative
_ Greater openness in relationship to school teachers
_ Parents recognising improved attitudes in their children and discipline and marked
improvement at home in how they behave
part. They argued that there was something of
the whole world coming into the children’s lives.
In an hour the children would often discuss more
topics of all descriptions otherwise not discussed
in a whole day.
Yet the artists felt that they were only halfway
through the process. While recognising the
medium-term reality of a pilot project, to the
artists the aims were being realised with a
long-term vision, and they felt that needed
to be recognised. They argued for, and there
is significant strength to the argument, the
children’s continued exposure to numerous
programmes in which the visual arts play a major
The artists had watched the children develop a
responsibility for their selves, for each other and
for their community. The children’s work had
become a ‘keystone’ in the community structure.
The artists argued that ‘confidence breeds
creativity and creates the healthy mind, which
controls the body’. One indicator was the general
lack of sickness being observed and that even
when sick, children would often turn up.
Against a background in which future financial
realities might lead to reduced funding for their
work, the artists posited that with more funding
they could do even more. Their experience was
also developing their own artistic practice as
they learned and adapted. They felt new
information and experience was available now
in the artistic field.
One of the artists, who has viewed many
portfolios of secondary school leaving certificate
applicants for third level arts college entry, was
confident to assert that these portfolios didn’t
display the same level of imagination, confidence
or sense of composition as some of these older
primary school pupils within ArkLink. This is
her judgment, but coming from an experienced
professional, it is also powerful evidence.
By the end of 2005, ArkLink children were
achieving ‘amazing’ and complex results using
varied techniques, which according to the same
artist some secondary school pupils in their first
year could not even begin to conceptualise.
They can now ‘see a finished product in their
minds’. In quite short times, the children could
make ‘incredible progress’. Those children that
have been attending longest are now seen to
be confident in understanding context, secure in
their competence and unafraid of thinking time.
They know they can get back to any work they
are pondering over the following week.
They are keen to explore other art forms and their
journey is really only starting.
The annual ArkLink calendar is a record of the
journey that some children have been on for over
five years. This shows confident development
culminating in the 2006 calendar, which was a
complex interpretation of children’s ideas and a
vehicle for ambitious artistic exploration.
Considerable artistic challenges were faced
and realised in the calendar’s completion. With
strong graphical support from Dublin’s Public
Communications Centre, work was produced
that stands up to comparison with refined
professional standards.
Six calendars have been produced, one at the
end of each year. Each of the images below
excludes the lower part of the calendar, normally
the monthly grid. Each month has its image.
Excerpts from the calendars follow to illustrate
the development.
28
Qualitative Appraisal
2001
2002
2003
2004
2005
2006
What I would wish for
A few of our favourite things
All of us
Best friends
14e and beyond
A New Beginning
The calendar project
commenced with a poet-led
creative writing project. Next
came transformation of words
into images led by an artist/
graphic designer. The ‘handson’ making of the calendar
involved a variety of materials
and techniques. The children
attended at the artist’s design
studio to watch the
final process.
This one began with hands-on
workshops in the Ark at Temple
Bar, firstly talking with the artists
about friendships and exploring
notions of imaginary friends and
magical powers. The children
then took the photographer
to where each child involved
was photographed in her / his
chosen place.
By the third calendar issue,
reports were coming in of it
adorning walls from the Dáil to
Delhi, from Inis Oirr, smallest of
the Aran Islands, to downtown
New York. The 2003 calendar
had a similar approach to the
previous year, working with
the same photographer on the
theme ‘All of us’.
Different aspects of the arts
work from the first full year in
Flat 14e were the images for
each month. The December
pages showed boxes from the
Pandora’s Box project.
‘I like playing with tennis balls
and I like playing on the wall
under the arch. I can juggle two
balls but I want to juggle
three balls’.
‘Now its 2003 and things are
starting to get better. New
playgrounds are getting built.
Kids are getting a chance to
see things changing for the
better. I am hoping to see a
happy and new life in Fatima’.
The calendar dwelt on the
‘twilight of the old Fatima’ and
the transformation ahead.
Black and white photographs
by a local artist/photographer
documenting the demolition
process were juxtaposed with
collaborative art works by the
children. Also in this calendar
the photos of the children
appeared in the day square of
each one’s birthday.
In this year’s approach, the
artists adopted a more holistic
approach to the development
of the calendar, maximising
the greater conceptual
and technical capacities of
the children and capturing
their greater ambition. The
collage approach aimed to
capture something of the
‘changing landscape of Fatima
suspended between the old
and the new’.
‘I would wish a playground in
the square, lots of new house
in Fatima’ – ‘I would like central
heating, more space in the flat
and to have lot of fun’ – ‘I’d
like a new football pitch, a new
house, a nice place to live in’.
‘The leaves turn brown and
start to fall’.
‘The last thing to come out of
Pandora’s box was hope’.
29
Conclusion
This project was an innovative intervention by
The Ark, with a clear purpose that the process
should lead to learning among all those involved.
One of the strong plusses has been the nature
of the strong relationships that emerged from
the project.
After its hesitant start, significant and
laudable progress was made under much
improved conditions. These are:
_ Clearer objectives within the promoting organisation, The Ark
_ Agreed objectives that were understood locally 1994 to 2004, provided for 25 children and
was under-resourced and under-achieving in
terms of community needs. Re-opened in 2005
with better resources and a better base, it then
catered for 100 children, indeed most children
in the community. The Homework Club staff
estimate that in 90% of the homes, there was
no suitable place for school homework. This
suggested a similar difficulty in terms of the
Ark’s field of activity. Now the Homework Club is
exploring the extent to which the arts could be a
tool for education and it wished to experiment in
education through the arts – what was seen as a
‘big opportunity and a big challenge’.
within community networks
management
Why the ArkLink project achieved significant
success ,and is now looking forward with some
prospect of a sustainable but altered future, is
probably down to the clarity of the message that
the project developed. This was that ArkLink is:
_ Experienced and talented core artists with _ Primarily about commitment to children and _ Good funding over a prolonged
experimental period
_ Consistent and supportive project provision for similar short-term or shorter
time-input artists
_ A friendly and accessible base, fit for purpose
_ Quality materials and resources
_ Good community networking
_ Schools support
Little of that agenda was available when the
project was established so it is far from surprising
that it was a lengthy process to develop the good
working model that emerged.
The experience of the Fatima Homework Club
provided an interesting comparator. It ran from
young people
_ Its primary strategy is arts-based
_ Its primary approach is through partnership
Future development should also see
stronger links with the schools, especially in
communicating what is going on in and out
of school. With such a project creating new
communication patterns between child and adult,
schools need to recognise the value of this and
be ready to accept a changed relationship to the
one more familiar to them.
It is also the case that new difficulties out of
school might arise as children begin to see a
bigger and more interesting world. Parents and
community need to be aware that the sense
of freedom created among their children, while
largely for the good, also has the potential for
new problems. Confidence is being built up and
the situation is, rightly, not totally controlled.
Also, adults involved have to be mindful of the
effects on the child of this kind of development
and the potential there is for exploitation of these
developing talents, which can be good or bad.
It appears that ArkLink has been one significant
contributor to very healthy community
relationships against a background where the
exact opposite could have been the case. In
the course of the community upheaval through
the area’s regeneration, there was the risk of
problematic transformational change.
There is evidence from this project that
deprivation is not only about money. Artists
emphasised the nature of great experience of
Fatima children such as at the Botanic Gardens
in Dublin, achieved at low cost compared
with the range of potential more costly
children’s experiences.
The capacity of Ark staff to work effectively was
constrained and delayed by lack of knowledge in
child development, community development
and clear understanding of how to create a
coherent infrastructure for solid development. Too
often in the early years these problems surfaced
and were not addressed, rather than being seen
as challenges to be turned into opportunities.
Parallel to this, the failure to address training
needs, apparent at project conception and
exposed during the project, was a continual
factor in restricting the project from being
more proactive.
The Ark Board and FGU were not able to work
as well together at the beginning as they might
have because they did not develop a common
language until quite late in the process when the
Ark came to fully recognise that empowerment
at the local level was their preferred and realistic
route to success. The partners did then work
together but it took time to achieve the strong
and confident partnership that emerged.
The organisational structure was eventually
designed through inter-agency collaboration at
the local level, informed by growing confidence
in the ArkLink team about its capabilities
and its role. The experiment with a planning,
implementation and evaluation group should have
been persevered with until a solution was found.
However, the Ark Board, the FGU, and the
Fatima Regeneration Board did work together to
strengthen a collaborative relationship: the formal
interagency structure achieved by 2005 was a
learned methodology.
30
Conclusion
Schools are such a large part in children’s lives
that the relationship with the schools could have
been more central to the plans and actions. It is
clear from the outcomes that the ArkLink activity
was having significant influence on children’s
school conduct and performance and in that
context significantly better communication should
have been put in place. There are discussions
about approaches in out-of-school activity
between the Homework Club and ArkLink at the
moment. This discussion is desirable and should
also be used to build stronger links with the
schools, and between parents and schools.
ArkLink has shown that parents will attend and
participate in discussion about their children’s
future, and even participate in arts activity to
better understand the processes and experience
through which their children are going. Schools
should also explore this model to see how they
can learn to communicate constructively with
more parents than they currently do. It should
be a two-way process as schools can also be a
source of serious input into the work of projects
like ArkLink.
It is necessary to keep the uniqueness of the
ArkLink experience: small group/high
quality/art-focussed.
ArkLink became a place for professionals to
visit. Once, five adults walked into the room
to visit. Normally children would react in such
circumstances but the children were engrossed.
There was no reaction to the visitors at all.
In Fatima, a common philosophy has developed
among different groups working with the same
children – Rialto Youth Project, Homework Club,
and ArkLink. In 2005 ArkLink saw a slight drop in
consistent attendance against a background of
finer and more adventurous ArkLink work.
This was due to a combination of reasons,
such as families moving, the increased
influence of the Homework Club and boys
interested in sport. This change has been
comfortably accommodated within this interagency collaboration.
At the same time, the programme has adapted
from its initial heavy reliance on visual arts
to seek more appropriate forms for differing
interests. This is a sign of growing confidence
and improved responses to the children’s needs.
Good relationships have also been developed
with the crèche, a whole new area for ArkLink
focus. Through their visits to ArkLink, crèche
workers are learning new arts skills and the
creative agenda in early pre-school education is
being more thoughtfully addressed.
In the ArkLink experiment, it may be that The Ark
had not properly developed its leadership in the
field, being focussed on its own change process.
It is now better placed to take action in this area
and should take the advocacy project forward.
This is an exemplary project, probably among
the best work that The Ark has achieved to date,
and provides an argument for better funding of
interventionist arts in areas of disadvantage.
That there is now a transition planning group on
the ground in Fatima is the best course of action,
and they should be rewarded with success for
the continuation of an initiative that they clearly
jointly own. The group consists of six people
from The Ark, Fatima Groups United and the
Fatima Regeneration Board. The Ark has given a
commitment to the project manager post being
there throughout 2006 and arts funding from the
Irish Youth Foundation is in place for the first half
year. The Fatima Regeneration Board argued
strongly that arts activity in the community has
been hugely beneficial as the community’s
knowledge and skill has grown and matured.
‘It has helped people make sense of change. It
has helped explore the strengths in people
– other literacies’.
This community-based provision with its values,
methodology and increasing commitment to
training needs more time on the ground in
Fatima, but the lessons learnt here have wider
relevance in Ireland and further afield.
ArkLink in Fatima has proven that well-resourced
arts activity makes a difference to children’s lives,
even in a most difficult environment in potentially
traumatic transition. It proves the benefit to
society of such investment. It proves that the
arts sector has much to learn from this kind
of methodology and its outcomes, and some
artists/arts institutions may need to rethink their
own convictions and practice.
It shows to group workers that there are many
techniques in this practice that can be utilised
constructively in a multitude of situations,
particularly in health and education.
It shows to each of us as individuals that we
have a great deal of creativity in us that perhaps
through earlier neglect has not been allowed
to flourish.
For the wider community, the cautionary note
would be to not allow such positive outcomes
to unbalance how child development is seen.
For too long, the arts have probably not been
given their proper place. There needs to be
a good balance in children’s lives and as the
questionnaire shows, the children see sport as
important in their lives also and it too has its
important role in child development. The issue
is balanced lives.
But for society, there is the challenge – this
work is seen to be ‘hugely, hugely valuable’
in the eyes of the stakeholders. It needs to
be seen in a mainstream context. It needs to
be mainstreamed without losing the integrity
brought by its focussed attention to innovation,
magic, small group work, long-term sustenance
and community partnership. The arts have put
excitement into the lives of Fatima children
and they can recognise that now most of that
excitement comes from within them. These
Conclusion
children have changed. The arts can change
people. ‘If you change children, you also change
their children’ argues a local educationalist.
What will they take up as teenagers? What would
they have been doing had ArkLink not entered
their lives? What would an alternative current
lifestyle cost? These questions are asked locally.
The answer given is that the arts encourage
people to question and take an interest, and
to become more politically and socially aware.
Children that learn each time to question the
materials they use in an arts activity are learning
to question everything. This is surely a healthy
and educational way out of disadvantage.
This experiment also has something to say in
the wider debate on educational achievement
in children and the question of whether the
arts can boost academic achievement. This
report did not set out to prove this but it does
raise questions in this area of research. If the
outcomes of this project include such significant
levels of skill development, increased creativity,
language development, confidence and
broadening of thought and learning processes,
and if schoolteachers are saying that they see
progress in such subjects as mathematics and
Irish language, then it is perhaps time to look
more deeply at these outcomes. Perhaps it is
not the case that the arts per se produce better
academic performance (although this could yet
be seen to be the case), but perhaps this raises
the possibility that this type of arts approach
does have something to contribute to improved
academic performance.
Thanks
Questions now arise over the future development
of ArkLink in Fatima, and there is no easy answer
to what that future should be. There are pros and
cons to a number of forward paths. Already there
are physical solutions being put in place with an
arts space in the new centre, which should be a
2007 reality.
There is no one answer to the organisational
shape of this continued ArkLink-type activity. It
is up to those who will take the work forward to
come up with an appropriate way forward. In
seeking a sustainable future it is the
well-resourced/child-focussed/small group/artsled/community partnership model that
needs to prevail. That is what has been
successfully demonstrated.
Stakeholders, including the key funders and
future funders, are now addressing themselves
to that task.
Also, it is the time for risk-taking benefactors
such as Atlantic Philanthropies and Irish Youth
Foundation, who bravely supported the project
through its learning and experimental times, to
integrate the learning into their own strategies.
In supporting this project they got to the core of
some educational, health, social and community
issues that they may not have touched by more
conventional means. This is a good project that
could usefully influence out-of-school policy.
It is hard to imagine that the work developed by
children in 2010 will be achieving the outcomes
currently being achieved if some means of
retaining priority focus on the arts above other
pursuits is not maintained. The characteristics of
the working model need to be preserved. There
is a need for the process and focus that has been
particularly successful in 14e to be the core of the
future initiative. This is where the value lies.
This is what is in the child’s interest. It is
also in the interests of The Ark as a learning
organisation, learning from its experience here
and planning its own future.
This is admittedly a lengthy document and is
not seen as the only evaluation document that
should emerge. It is lengthy as it aims to provide
as much firm evidence as could be collated and
to properly reflect the outcomes of so many
people’s endeavours.
To the community of Fatima and all those
who work there that have contributed to this
evaluation I wish to express appreciation.
Also, thanks to the Ark Board and staff
and personnel from other agencies for their
contributions. All freely and willingly gave of
their time, some over a five year period, to try
to ensure that what was being achieved on
the ground was truly reflected in the reporting,
and that a wider audience could learn from the
collective experience. Most of the key adults
are named in Appendix 2. To those who are
missed, I offer my apologies.
Alan Tweedie
Local arts groups, the wider artistic community
in Ireland, other agencies and professionals and
local government policy makers still need to
benefit from the Ark’s experience with ArkLink.
The model is significant and so should be
promulgated widely in order to influence policy
and inform learning.
© Alan Tweedie & The Ark, A Cultural Centre
for Children, 2006
31
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A model of practice
Context The artists (Jole Bortoli, Kieran
McNulty and Katie Lincoln) and project manager
of ArkLink (Bernadette Larkin) underwent a
facilitated discussion with Liz Coman, Visual Arts
Officer at The Ark, with the aim of articulating
key elements of the ‘model’ – artistic growth,
outcomes, relationships, logistical elements, staff
roles, organisational roles.
The following questions aimed to portray project
issues and outcomes based on specific examples
drawn from the artists involved in ArkLink and its
project manager.
1. How does the ArkLink programme define
artistic growth?
Exposed to stimulii, artistic growth in children
happens at different ages and in different ways at
differing ages. The following list of how ArkLink
sees artistic growth is valid across age groups,
but the complexity around such growth issues is
greater as the children grow older.
_ Visual awareness
_ Visual vocabulary
_ At ease in the space with the artists
_ Appreciation of quality materials
_ Art skills
_ Understanding quickly what is required of them
_ Capacity for artistic development of a project over time
_ Seeing a project through from beginning to end
_ Willingness to have a go – absence of artists having to coax children to try out and experiment with art.
_ Children upping the ante from project to project. Increase in expectations of materials, challenges involved with the project and provision of greater challenges for the artist. (The artists work with this expectation and are open to be challenged as they want the children to grow as artists).
The idea of ‘artistic growth’ allies itself with
the children growing. They grow up so quickly
– physically, emotionally, intellectually, spiritually.
This is reflected in their art as they mature as
artists as well as people.
Examples: Kieran McNulty’s work
1.January to March 2005
Ages 8 to 10 years and 11 to 14 years
Theme: Myths and Mysteries Project ‘Pandora’s Box’
Project Overview
The aim was to introduce the theme of myths and use the stories from different cultures to spark new projects.The myth
chosen for this project was the widely known story of Pandora and the ‘Sealed box’. The intention was to familiarise the group with the story and then proceed to develop individual and personalised boxes adhering to the core elements of the myth (see programme
notes, page 53)
2.Date - various
Ages 5 to 7 years
Theme: Time and space as a ‘settling in period.
Project Overview: The aims are
_ To see children at ease in the creative
arts space
_ To get them used to experimenting in the space and with different art materials
_ To allow them to play with texture and colour
_ To allow them to fail and succeed by doing or not doing
_ To begin using art terminology and language
_ To complement school development, esepcially developing visual literacy
_ To enhance visual artistic development as parallel, but equally important, developmental phase in the life of young children
_ No emphasis on producing an artwork as the value is in ‘being there’ and having the time and space to experiment.
This early stage quickly distinguishes the children in
the ArkLink project from other children. Feedback
from teachers, parents and community members
quickly highlights that the children are different
in the ArkLink environment rather than at home
or at school. They are engaged in artistic
discussions and acts that are central to their lives
and therefore relevant to them. They are engaged
and stimulated and therefore behave differently
than in other environments. They quickly grow
towards a sophisticated (ability to deal with
themes and ideas on many levels) sense of art;
this growth comes from the nurturing relationship
of acceptance and respect in how they are
treated in the project. The children’s opinions are
taken on board and are taken seriously, they feel
ownership of the space and they feel comfortable
and relaxed in the space. At this stage it is hard
for the artists and project manager to tell what
they absorbing. But they usually hear them telling
somebody else i.e. parent/child about their work
and so the artists get excited when they hear
this. It is a direct and most true indicator of what
the child is experiencing in ArkLink.
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Example: Jole Bortoli’s work
Examples: Katie Lincoln’s work
January to June 2005
Ages 11 to 14 years
Theme: Bestiary, a theme on animals
Dates: Various
Ages 11 to 14 years
Theme: Working on film production through
a Film Club
Project Overview
The theme was chosen as a natural ‘follow up’
from the previous year’s work based on the tale
of the ‘Firebird’. During that time the children had
been working on specific elements like flowers,
water and animals. The characters of the animals
in particular (Chestnut Grey Horse, Gray Wolf and
the Firebird itself) had magical powers and this
offered the artist the perfect link to start on the
new programme (see programme notes).
With the older children their manual skills are
growing but the impact of The ArkLink project is
holistic. Artists spend time assessing the different
effects or reactions of a range of media on
children. As the children develop as artists they
are able to look at themselves from the outside as
practicing artists do. The children are not fazed
by working with new people and in new contexts.
They are confident and informed without being
cocky. Artistic language has become part of their
daily vocabulary and discussing artistic decisions
is becoming routine. They also are realising the
value of each role in the artistic process and to
respect and value what each child and artist
brings to the table.
Project Overview
The children are now open to dealing with
complex issues such as censorship and
community identity. The children work with the
artists and project manager on opening their
awareness to the wider consequences of their
actions. The trust and relationship between the
children and the project manager and artists is
crucial for meaningful discussion to take place.
The children know that they will be supported
through their decisions even if other grown
ups disagree with their choices. For this type
of negotiation to take place consistency of
approach is key. Artists and project manager put
the children at the centre of decision-making.
The artists or project manager does not use
the children or their issues as a vehicle for their
own ideas/products/political or organisational
agendas. There is an inherent belief between
artists and project manager that how the children
solve issues and make artistic decisions will be
fresher than if the artist/project manager did it
(see programme notes).
2. What kind of products are produced in
ArkLink?
3. How do the artists and/or project manager
judge artistic value?
The children produce a great amount of product,
which is exhibited on site at the end of the
school year. There are also end-of-term open
days and members of the local community and
arts community are invited to attend. Products
such as DVDs, the calendar, exhibitions, etc are
valuable for gaining awareness and respect for
the project. The calendars are owned within the
community and the children are proud of their
involvement with them.
The artists and project manager base their
artistic values and judgments largely on their own
experience as artists and practitioners. A level
of focus and concentration is very important to
Kieran - how immersed the children are in the
concept and practice. Being lost and engaged
in what you are working on is a strong part of his
practice and so he brings this value to how he
judges success or failure within his workshops.
Issue: Product –v- Process Product does not
dictate outcomes from the ArkLink project. This
is what mainly distinguishes the model from the
routine work of its parent, The Ark. As the child
goes through the process-driven workshops
in ArkLink they may or may not be interested
in an end product. This allows the children an
openness to go in any direction that they choose,
under the supervision and guidance of the artists.
This approach is similar to art college i.e.
students in the National College of Art and
Design - the emphasis on product/exhibition
at the end of the year may help to focus and
motivate but time and space during the year is
vital for ideas to formulate and emerge. If the
children understand the relevance of, or are
committed to the product, they will work hard
towards it. Products are the manifestations of
how the children have seen a project through
from beginning to end. It is also a means by
which the children receive external feedback and
experience audience reaction, which is a vital part
of being an artist.
Jole is interested in free flow conversation. She
also values when the children react/comment
/make links with other things not necessarily
related to what they are doing. She enjoys how
the children challenge the artists in how they
make decisions – which you have to prove to
them ‘how’ you are an artist by showing research
or physically demonstrating skills. The young
children are curious to know ‘how’ she is an
artist. But for Jole it is important that although
she shows them how she is an artist and how
she practices, she also tells them how she
appreciates their work and the value of their work
as a person and artist.
Katie likes the sense of adventure of working
with the children. She enjoys the loose structure
and being guided by them. She has learned
to trust in the process and judge the moment
when to let go of guiding the structure and let
the group take over. She likes to key into skill
building – informing them how to take shots,
talking about light/composition, how to prompt.
Katie enjoys not know what is going to happen,
the sense of excitement and responding to the
34
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A model of practice
changing environment that is the same when she
is practicing as a documentary maker. She enjoys
talking and analysing the work with the children.
_ Language development
_ Links are provided between community and _ Freedom in programming
_ Communication development
schools through arts
_ Freedom to experiment
_ Resilience
Bernadette (Project Manager) early on in the
project had to adapt thoroughly to the community
of Fatima from her experiences of structuring
workshops at The Ark. She was aware that
she was engaging in much closer, challenging
and even a frightening way with children’s
artwork. She values the imperfection of
children’s art and how it goes against the
perfection that is demanded in society. She is
aware of the child’s achievements and failures
within the context of knowing the family and
circumstances of where they are coming from.
However, within the context of ArkLink, she
refuses to allow the child be constrained or
defined by those circumstances.
4. What are the outcomes of ArkLink in
the context of child development?
The artists articulate a list of outcomes
_ Greater self esteem
_ Confidence
_ Skills development
_ Constantly evolving
_ Positive impact on their environment
Homework Club
_ Two-way learning
_ Choice making
_ School syllabus related
_ Constantly presenting opportunities
_ Aesthetic judgment
_ Task orientated
_ Trips to cultural institutions and other venues _ Skill of looking after each other
_ Based on academic performance
_ Compassion towards each other
_ Children choose to attend but parents see broaden experience and begin to break down historical barriers regarding access
_ Attitude changing toward environment and benefit in a more practical way - children get
a meal and homework is done
peers
_ Greater sense of responsibility
5. How does ArkLink compare to other youth
programmes? ArkLink –v- Homework Club
This comparison is between two programmes
that the artists and project manager feel very
positive about.
ArkLink
_ ArkLink is purely arts lead
_ Child development is not the primary aim but emerges through practice
_ Cognitive stimulation
_ Access to high quality arts provision
_ Socialisation
_ Children choose to attend
_ Analytical skills
_ ArkLink performance is distinct from academic _ Problem solving
performance
_ Concentration/application
_ Broadens access to The Ark through schools
_ Children develop literacy around multiple art forms
_ Would it exist if school didn’t create Possible negatives:
_ Accessing a relatively small number of children homework?
could more children be accessed with more resourcing – time, funding and support?
_ Links with schools through curriculum
_ Increased resourcing may or may not address Both programmes are positive and necessary
environments focused on the well being of the
child. However, the homework club has more
provable outcomes whereas ArkLink outcomes
are much more difficult to prove. The ArkLink
programme embodies all the struggles and
challenges in articulating how the arts are a
catalyst for social growth and change and yet the
evidence is ever present in the daily commitment
of the children who come by choice on a regular
basis to the programme.
6. How does the structure of ArkLink work?
There are lots of positive aspects in the practice
for the children:
_ Capacity to be loose and evolve within a structured programme
this problem. A major challenge exists in selecting artists who will work with the same agenda as artists in ArkLink. Also, a major challenge exists in including more children.
Does opening up to more numbers mean diluting the quality engagement of the child? Does opening up dilute the artist’s ability to change and respond to children’s growth and changing preferences?
_ Quick turnover in the helpers from the community – living and working in same place difficult may be difficult but local knowledge
is vital
_ Local knowledge about the history of individuals and families could be a potential problem regarding objectivity – this aspect needs to be watched and managed
35
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A model of practice
7. What is the Role of the Project Manager?
The Project Manager is the community/
organisational liaison worker. She works on
committees in the community. She addresses
issues of funding and advocacy. She has input
into the creative/ artistic direction of the project.
She works with the evaluator and with local
schools. Her priority is ensuring the interaction
with the children is of quality standard. The
project manager interacts with the children and
their families in a different way than do the artists.
She is the main face of the project. Everybody
in the community knows her and there is a high
level of trust necessary. She knows something
of the history and circumstances of each of the
children. The consistency of her presence is a
touchstone for the project.
The Project Manager introduces the artists to
the project and to the ArkLink philosophy. She
ensures that the team of artists works cohesively
in programming of ArkLink activity. Without the
Project Manager, artists could be thrown in at
the deep end. There could be less control of
structure/number of children attending/age group
suitability and less consistency of experience for
the children. The Project Manager is responsible
for the site – keeping the location cosy and warm
and welcoming, ensuring materials and food
are in stock. Liaison with the community would
be much less embedded were there no project
manger.
8. What have the artists learned from working
on ArkLink?
9. What does The Ark bring to The
ArkLink project?
Key learning outcomes for the artists included
The Ark brings:
_ In Fatima many pre-conceived ideas of work _ Expertise and connections
practice have to be adjusted
_ The stamp of quality (people want to be _ Considerations of what is success are adjusted according to the children with whom the artist is working (e.g. sitting for five minutes can be deemed a success, silence
can be deemed a success)
_ Flexibility
_ Knowing when a child can make it for him/
associated with The Ark)
_ A mandate to work with children in quality arts engagement
_ Professional expertise in setting up structures and budgets
_ Technical expertise and production back up
herself and knowing when to step in
_ Translating The Ark model to Fatima (a major _ Trust in the process and the time
endeavour and challenge)
_ Opportunity to work with the same children over years gives valuable insight into their way of thinking and how they work
_ The importance of a dedicated, well resourced space
_ The importance and appreciation of the programme manager’s role
_ The recognition from parents gives motivation to carry on
_ What the community helpers bring and how they relate to children is of great importance
_ Good financing and quality of materials
_ Access to a range of cultural activities
_ A familiar place to visit
_ Children feel at home in a cultural institution from an early age
Programme Notes
Myths and Mysteries Project 2005
`Pandora’s Box’ 8 –10 years
Kieran McNulty
Project Overview The aim would be to
introduce the theme of myths and use the stories
from different cultures to spark new projects.
The myth chosen for this project was the widely
known story of Pandora and the `Sealed box`.
The intention would be to familiarise the group
with the story and then proceed to develop
individual and personalised boxes adhering to the
core elements of the myth.
Workshops Story: Using a book of mythical
stories (Greek Myths for younger children—
Walker Books) as the source material. Reading
of the myth. Discussion of what happened,
trust, temptation, curiosity, cheating, evil, horror.
Looking at the illustrations from the book. What
are we going to do with the idea contained within
the myth, the core elements of good and evil?
Shoeboxes Like jewellery boxes – lavishly
decorated on the outside. Covered the outside to
remove the shoe box graphics, logos etc. Hinged
the lid. Covered the outer surfaces with beads,
glitter shapes, sequences, fabrics and exotic
handmade papers.
Discussion Mid-project discussion to refresh the
intention and try to focus the group into the shift
in thinking from the beautiful to the grotesque;
search and shared ideas, possibilities and what
would be great but impractical (within 14E).
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Appendix 1
A model of practice
Inside Made a list of the main contents that
would be placed inside the box. The group made
the vast majority of items placed inside the box
but there were a few items brought into the
project that justified the intent or desired effect
needed. A lot of invention came about in relation
to how best to maximise the effect of the
opening of the lid.
Finishing Generally I will allow a final session for
the finishing of any details needing attention (i.e.
re-sticking, strengthening, and refreshing)
Outcome An opportunity was given for each
member of the group to look at and open
the other boxes. Whilst the myth of Pandora
describes untold horrors been unleashed from
the opened box, naturally enough the young
people’s realisation of this reflected their ages
such as spiders being one of the more disturbing
elements contained inside. Which is a poignant
reminder that real horrors are an adult invention.
Exhibition We all agreed that these boxes would
be ideal to put on display for others to see. Final
pieces were photographed and used in the
2005 calendar.
Myths and Mysteries Project Jan-Mar 2005
‘Icarus’ 10-12 yrs old. 6-8 sessions. 1 hour (of
which 45 minutes work time)
Kieran McNulty
Project Overview The aim of this project is
to continue with the overall theme that I am
exploring for the term September 2004 to June
2005 which is ‘journeys’. For this, the group
will experiment with the making of kites. It is
intended that these kites will be functional. As for
inspiration and motivation we will use the Greek
Myth and the fantastic story of Icarus and the
idea of flight.
Workshops Story - Using the book (Greek
Myths for Younger Children – Walker Books)
which is part of the library of books ArkLink has
at 14E (also being used simultaneously with
other groups). We began our project by reading
the story and following that we had an informal
discussion of the main elements of the story, the
making, the flying and even the ultimate failure of
Icarus. Interestingly we spoke briefly around the
idea of failure, the fear of, and whether or not it
should prevent one from trying. The story was
beautifully illustrated in the book so we spent
some time looking through the images.
Kites The practical work on the project began
with me presenting a few different (simple) kite
types, drawing their attention to the traditional
diamond shaped kite as the type that we would
attempt to make.
A lightweight fabric (white) would be used for the
kite and 2 sessions spent designing and creating
an image for the shape. This was established by
showing a selection of images of Chinese kites
and their designs. To focus them within this we
chose to create individual dragon motifs onto
the fabric. The sessions allowed for the structure
(rods) to be cut to size and secured in place.
A final creative touch was added in the form of
the ribbon or tail of the kite which each member
of the group individualised in a variety of ways.
Everyone then made the long string and card to
tie to the kite structure.
At this point the anticipation of flying kites was
palpable, some couldn’t wait and impatiently
attempted flying theirs outside 14E with obvious
disastrous results without wind or space. A
discussion was held as to where we thought
would be a suitable space to try and fly our kites.
An agreement was reached and was within
walking distance.
year’s work based on the tale of the ‘Firebird’.
During that time the children had been working
on specific elements like flowers, water and
animals. The characters of the animals in
particular (Chestnut Grey Horse, Gray Wolf and
the Firebird itself) had magical powers and this
offered me the perfect link to start on the new
programme.
Our final project session was to walk to our flying
site and attempt to fly our motley crew of kites in
the sky. As luck would have it there was little or
no wind that day, coupled with the fact that our
kites were a tad short on precision. What resulted
was much running with very little kite flying, some
flew, some crashed, some spun irrationally, some
collapsed, but great fun was had. So in some
strange way we failed like Icarus even though we
had no sun to worry about.
‘The younger children of the Thursday groups
have also been working on the theme of
‘Animals’ but in a much looser way. We dipped
in and out of the project responding more to their
needs as they were arising. This was my second
year working with this groups but, as they join in
the classes when ‘they come of age’, most of my
work is spent in getting to know them, adjusting
to their personality and artist’s temperament.
The year’s work comprised of the following:
Workshop Materials
Storybook – Greek Myths for Younger Children
(Walker Books)
Images – Researched/copied images of kites etc.
Fabric – Lightweight nylon (white)
Rods – Davel rods (8mm)
String – Nylon cord (100 metres)
Design Various graphic materials, markers,
chalks, crayons etc.
Repair Kit – Tape, string, glue, plasters.
Bestiary 2005
4-7 years old
Jole Bortoli
The January to June 2005 programme was
dedicated to the theme of ‘Animals’. The theme
was chosen as a natural ‘follow up’ from last
Clay birds / Workshop: 3D work.
After ‘discovering’ a bird (made of clay) hidden
in a box, each child worked with clay for a while
shaping and re-shaping the clay and just enjoying
the experience.
Funny animals
Aim of this workshop: to develop listening skills
and visual memory.
I asked the children to draw an animal I have
been dreaming about, a funny animal with
stripes, dots and spots, legs and wings, horns
etc… Could they give it a name? Secondly, if
they could transform themselves into a strange
37
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A model of practice
fantastic animal, what would it look like? Could
they describe it in turn? Could they remember
the description and draw it? The children had no
problem with this exercise and produced very
good work.
play with it, spooning it over and over and feeling
it between their fingers. They mixed it with colour
taking pleasure and painted with brushes, hands
and fingers. ‘How does it feel?’ ‘I like it’. ‘It’s
strange’. ‘This is so weird, it’s really weird’.
Material: wax crayons on white paper.
Material: sand and paint.
Visit to the zoo
Chinese Dragons
Aim of this workshop: to develop description
skills and visual memory.
Aim of this workshop: to develop fine motor skills.
As I wasn’t part of the visit to the zoo, the
following week I asked the children to talk about
it. What animals did they see? What did they look
like? Could they draw them?
The children drew the zoo animals on big
sheets of paper taped to the walls. They worked
with great concentration while making a lot of
comments on their shapes and colours. A child
took a long time discussing the colour of the
water in the pond where the hippo was. One of
the staff reminded her that the water was muddybrown, but the child not being happy with that
colour painted it blue and then asked for help in
transforming it into a snake.
Material: Chalks on black or white paper.
Painting with sand
Aim of this workshop: to experience different
textures.
When the children arrived they found bowls of
sand on the tables. They immediately started to
When the children saw the paper dragons that
the older groups were making they immediately
asked to do the same. With help from the adults
in cutting and gluing, they produced their own
dragons and brought them home.
Material: coloured paper, glue, and sticks.
Illustrating stories
Aim of these workshops: to develop storytelling
and story making.
First workshop: each child worked on a personal
booklet made of different coloured pages. The
children were illustrating parts of a story I was
telling, they would also contribute to the story
commenting on it or wanting to change it if it
didn’t conform to their expectations, ‘It must be a
dragon, not a tiger!’.
Second workshop: each child was encouraged
to tell a short story invented by them which all
the other children would then illustrate. They all
managed to do it and some had very beautiful
and original images.
Material: wax crayons on coloured paper.
Let’s paint!
Painting is definitely their favourite thing and
they ask for it over and over. They don’t need
encouragement and any theme will do. When
they paint they are the most concentrated and
get into a real dreamy mode. They get lost in the
colours and love exploring and making up new
colours. So, sometimes we do just that.
Visit to Airfield Farm
A visit was arranged to Airfield Farm in Dundrum.
It was a guided tour, which the Airfield staff
organised especially for us. Jeanne, the farmer,
took us around introducing the animals, allowing
the children to pet them, asking and answering
lots of questions. She was most impressed by
the children behaviour, attention and curiosity.
We had a picnic and a great day altogether! The
following week the children painted a creative
response to their visit to the farm.
They are a very dedicated bunch of children.
They come regularly and they knock at the door
anytime they see the external metal door open.
‘Can I come in?’ ‘Can I help?’ ‘Is my club
on today?’
They are demanding, watching constantly what
the older children do and wanting to do the
same, wanting to move up, ‘I am a big
five now!’. Most of the work I do with them is
aimed at developing basic skills, establishing
routines and encouraging them to be as
independent as possible.
The ArkLink Fatima Mansions Film Club
The lead in to the Summer Festival 2004
8-14yrs - workshop sessions introducing the
children at ArkLink to filmmaking. June/July
2004. Katie Lincoln
Through a series of workshop sessions at 14E
the children were introduced to the camera
equipment. The children simply talked to camera,
handled it and became comfortable with its
presence. They then interviewed each other.
They learned the basic skills of carrying out an
interview. They took turns working in different
roles. In this way they began to understand
how to conduct an interview. It was a hands on
experience for them from the outset. The skills
learned in these first few workshops formed the
essential base from which the children would go
out into their community the following month and
make a video diary of the summer festival.
The Fatima Mansions Summer Festival
Shooting a summer video diary August 2004
The children went out and about with their
basic filmmaking skills and documented the
festival in their community. They were thrown
in the deep end but in a good way. They were
suddenly taking responsibility for camera gear
and allocating ‘goes’ to all the other children who
crowded around the camera. They continued
to revolve the jobs. One or two children would
film at a time and so they individually gained
experience at operating the camera, listening to
the sound and interviewing people.
Appendix 1
A model of practice
The festival provided a focus of ongoing,
unfolding things for the group to film. They
became very good at approaching adults for
interviews – everyone from their Dads to the local
ice-cream man to the lads playing soccer. I was a
constant presence with the camera for the week
of the festival and so the children could come and
go as they pleased. There was usually one of the
ArkLink children filming – so they all contributed
to the footage as the week progressed. Each
child would decide what to point the camera at
so they led the direction of the filming.
The ArkLink Fatima Mansions Film Club
Autumn 2004 During the autumn of 2004 the
ArkLink Fatima Mansions Film Club was begun.
It was held from 10.30am – 12.30pm every
second Saturday morning at 14E. It provided a
dedicated time for meeting and concentrating on
filming. Each member of the club was given their
own visual diary and at the start of each session
ideas were jotted down. The children really took
pride in their diaries – some would draw – some
would write others made collages. They were
encouraged to brainstorm and get ideas out via
their diaries.
I acted as catalyst when the banter with the
diaries was going on and filming ideas would
come from the discussions about whatever
was going on for them at the time – be it the
excitement of Halloween preparations, Kirsty
playing records or Mrs. Gavin heading to the
market. They began to take ownership of the
club around this point.
Appendix 2
Adult Personnel
They also became more and more confident
about going in front of the camera themselves.
They became more polite when interviewing
people and began to work well as team. There
were fewer fights over who got to be on camera
and who got to do sound. They worked it out
fairly between them. They were quick to discuss
ideas together. They generally became much
more confidant and eager to learn more. As a
group they pushed themselves. They evaluated
the footage they had shot at the end of most
sessions and as a result they strived to get better
and better footage. An example of this would
be the way Amanda became so tuned into the
sound and was constantly calling ‘cut’ whenever
a plane flew over or there was too much
background noise.
The older members of the group were patient
with the younger ones and passed on the skills
they had picked up to them.
The lead in to Cinema Fatamiso Spring 2005
The group spent a few Saturday sessions viewing
the footage that had been shot over the different
Film Club sessions. There were then discussions
in the group about favourite moments filmed or
funny bits that should be used. These sessions
and discussions were the only input that the
group had in the editing part of the process. I
then went away and edited the material together
- and the DVD of their work was compiled.
Cinema Fatamiso The Fatima Mansions
Summer Festival 2005 Cinema Fatamiso was
a make shift cinema on site in Fatima Mansions
for the week of the summer festival. The Film
Club group helped to run the cinema while it was
in place. They sat in on meetings about it, they
contributed their ideas, they made the tickets,
they allocated the tickets to the audience, made
speeches, handed out popcorn and helped to
clean up afterwards.
They turned up on time and were extremely
reliable for the duration of the running of the
cinema. The got the opportunity to show their
now edited films to an audience. All of the local
children and their friends and family attended.
There were hairy moments when other children
in the flats were messing and throwing stones
at the container in which Fatamiso was housed,
and the group really worked together to keep it
calm and under control. This experience
allowed the group to understand the final part
of the filming process and exposed them to
the challenges involved in showing work to
an audience.
The Ark
Project Manager Core Artist
Core Artist
Core Artist
Core Artist
Director 1995–01
Director 2001–03
Acting Director 2004–05
Director 2005–
Production Manager
Technician
Technician
Programmer
Programmer
General Manager
Finance Officer
Bernadette Larkin
Jole Bortoli
Martina Galvin
Katie Lincoln
Kieran McNulty
Martin Drury
Eric Fraad
Belinda Moller
Eina McHugh
Mark Rooney
Henry Broekhoven
Michael Higgins
Avril Carr
Dara Carroll
Avril Ryan
Siobhan McKay
Evaluator
Alan Tweedie
The Community
Support Workers
Paola Catzione
Ellen Guerin
Nuala Keeley
Anne Marie Kenny
Deirdre Reid
Planning Implementation & Evaluation Group
Joe Donohoe
Aine Geoghegan
Melissa Hogan
Niall O’Baoill
Joe Tulie
Fatima Regeneration Board John Whyte
38
For more information on the ArkLink project please contact:
The Ark, A Cultural Centre for Children, 11A Eustace Street, Temple Bar, Dublin 2.
T: +353.1.6707788 www.ark.ie